


FPfclCE IS CE]VTJS. 




DE WITT'S ACTING PLAYS. eJ^ 

(Number 193.) 




A GAME OF CARDS. 



A COMEDIETTA, IN ONE ACT. 



FKEELY TRANSLATED FROM THE FRENCH, GER>IAN, AND DANISH 
EDITIONS NOW BEING PLAYED IN EUROPE, 



By L. J. HOLLENIUS, 

NEW YORK, 

Author Of " Dollars and Cents ; " Translator of " First Love,*' « Maria and 
Magdalena" etc., etc. 



TO WHICH ARE ADDED, 

, description ot the Costumes— Synopsia of the Piece -Cast ot the Characters 

—Entrances and Exits— Relative Positions of the Performers on 

the Stage, and the whole of the Stage Business. 




^tta- gorh : 

RT M. DE WITT. PUBLISHER, 
yo. 33 Rose Street. 




HO] 



r HUNTING THE SLIPPERS. A Farce. In One Act. By Mar- 
' ^ I tin Becher. Price fifteen cents. 
1tEAI>y. I HIGH C. A Comedietta. In One Act. By Sydney Rosenfeld. Price 
fifteen cents. 



DE WITT'S HALF-DIME MUSIC 

OP THE BEST SONGS FOR VOICE AND PIANO. 




)HIS SE(RIES of first class Songs contains the 
Words and Music (with the Piano accompaniment) 
of the most choice and exquisite Pieces, by the most 
able, gifted and most popular composers. It contains 
every style of good Music— from the solemn and 
pathetic to the light and humorous. In brief this 
collection is a complete Musical Library in itself both of Vocal 
AND Piano-Forte Music. It is printed from new, clear, distinct^ 
elegant Music Type, on fine white paper, made expressly for 
this Series, and is published at the low price of Five Cents. 

Remember, Each Number contains a Complete Piece of 
Music, beautifully printed on Sheet Music Paper. 

Any Twettty Pieces mailed on receipt of One Dollar, postage paid. 
ET- PLEASE OMDER BY TSE NTTMBEJBS. -=©» 

Address, R. U, DE WITT, Publisher, 

SS Siote Street, J^. T. 

SENTIMENTAL SONGS AND BALLADS. 

JVb. Composer. 

3. leaver's L.etter-Itox Wrighton. 

Thy Vsice Is niear Wrighton. 

Blwe-Eyed "Vialets Jackson. 

The Maiden and Her L,iaaet. 

Momtgfomery. 

Soft De-vv is Sleeping Barker. 

"When the Roses Blow Allen. 

Beautiful Bells Coote. 

The Mather's Dreaux .Salllvaa. 

My Spirit Star Tounj. 

Little Materia May BlaKiphia. 

The Vagabond MoUoy. 

My Heart is O'er the 9e«. .Clartbel. 

Masfie's "Wolcanae Clarlbel. 

Dreankine af IVellie Hogett. 

Fi-re O'Clack in the Maming;, 

Clarlbel. 
She Came and Vanished I^ike a 

Dreana Boucher. 

Maet Me in the L.ane Blamphin. 

Tapping at the Cardea Gate. 

Slaaping an Cuard Wrlghton. 

Summar l»e-»r Barker. 

•h. My L.ost L.o've Plumpton. 



S. 
«. 
8. 

14. 
1«. 
SO. 

a«. 

S3. 

ss. 

S6. 
3«. 
3S. 
3S. 
3T. 



4«. 
43. 
4S. 

4t. 



No. 


Oompoger. 


5t. 


Far Away Blits. 


sm. 




STf. 


Ves. I'll Meet Thee. Dearest. 




Btamphfn. 


Si9. 




e«. 


^Vhisper " Ves," or •• I«a," I^ave. 




" Adele." 


6«. 


Her Bright Smile Haunts Me 




Still Wrightoa. 


e3. 


Oh. Cast that Shadow from Thy 






64. 


I.a-re I«ot Blockley. 


«s. 


She VV^ore a Vt^reatk of Roses. 




Knight. 


•so. 


Pretty I^ittle Dark Eyes. .. .Parker. 


■TS. 


When wre vireat a Gleaning. 




Ganz. 


'T4. 


Mary of Argyle Nelson. 


•ys. 


What Did I^ittle Birdie Say? 




Balfe. 


-»«. 


Sing. Birdie. Sing Oana. 


•98. 


Spring.Time of I.i«e Jackson. 


-»». 


IVightingale's Trill Oana. 



A GAME OF CARDS, 



% (ffometrutta, 



IN ONE ACT. 



FREELY TRANSLATED FROM THE FRENCH, GERMAN, AND DANISH 
EDITIONS NOW BEING PLAYED IN EUROPE. 



BY L. J. HOLLENILTS, 

NEW XOBK, 

Author of " Dollars and Vents ; " Translator of " First Love," " Maria and Mug- 
dalena" etc., etc. 



TO WHICH ARE ADDED, 

A DBSCRIPTION OF THB COSTOMES — CAST OK THE CHAKACTERS — SYNOP- 
SIS OF THE PIECE ENTRANCES AN!> EXITS — RELATIVE POSI- 
TIONS OF THE PKKFORMERS ON THE STAGE, AND THE 
WHOIiB OF THE STAGE BUSINESS. 






NEW YORK 
ROBERT M. DE WITT, PlfBLISHER, 

No. 33 Rose Street. 

(BETWEEN DTJANE AND FRANKFOItT STREETP.) 

Copyright. 1875, by Robert ^1. Dn V.'itx. 



2 A GAME OF CARDS. 



To .,-rfH7^^'7 

GEORaE B. BOWIiEND, Esq., 

IS THIS TEAKSLATION INSCRIBED, 
AS A TRIFLING TOKEN OF MY AFFECTIONATE FRIENDSHIP. 
New YoiiK, Nov., 1875. L. J. HOLLENIUS. 

CAST OF CRARACTERS. 

The Chkvalier de Rochefekkieb 

Anatole (his Son) 

Mk. Mercier (a retired Drygoods-merchant) 

Rosa (his only Daughter) 

TIME OF PLAYING—FORTY MINUTES. 

TIME-THE PRESENT. 

The action takes place in Paris, in the parlor of Mr. Mercier. 

SCE2{ERY. 

c. 
I Door. 1 

.• * * '. 

* . • Card table. Book-ca.se. 

.• * Chairs. Chairs.* •. 

Window. Sola. Door. 

* Table. ■ . 

* Chair. * Chair. * Chairs. • . 



COSTUMES, CHARACTERISTICS, PROPERTIES, ETC. 

Chevalier.— Age, 65 ; white hair, imperial, and mustache; bushy eyebrows ; stiff, 
pompous, and very ceremonious. Black suit , r«d ri! bon in the lelt button- 
hole; golden double-eyeglasses in a black ribbon; snuffbox. Speaks slowly 
and with dignity. 

Anatole. — Age, 25 ; fashionable walking suit of a dark color ; hat ; light gloves. 

Mercier.— Age, 53 ; bluff, kind-hearted, and hasty-tempered. Dark suit. 

Rosa.— Age, 18. Elegant costume of the period. 



PROPERTIES. 



A card table containing cards ; a carpet bag; birdcage; two books; a bottle cf 
chloroform ; worsted work ; a newspaper. 



SYNOPSIS OF THE PLAY. 

Thi^ story is French, thoroughly French, and therefore it would have been useleaa 
to lay the scene in any other country. Nowhere else but in France do the parents 



TMP96-C05613 



A GAMK or CARDS. 



3 



now-a-days propose tor their children, nnd no where else, perhaps, do the children, 
when grown i-.p, show buch beautit'ul devotion to their parents and such deference 
to their wishes. Mr. Ajkucikb is a retired dry goods-man, a widower with an only 
child, Rosa, who is about to be married to Anaxolk, the only sou of ihe Cuevalikb 
DB RocHEFKKKiEu, a poor noblemtin of ancient lineage, who, with his sou, residfts 
in the house of Mr. Meucier. The two old gentlemeu are in the habit of having 
their game of piquet every afteruooi) before dinner, and on the day wlien the mar- 
riage contract is to be signed they quarrel over their cards, and become so excited 
that the match is broken ofif between tiie parents, who, according to French customs, 
consider themselves the principal parties interested. Anatole, who on tliat very 
day has taken his degree as a Doctor of Medicine, returns from the University 
flushed with his honors and beaming with joy in anticipation of hi.s appioaching 
nuptials. He arrives when the quarrel is at its height, and is requested by his stern 
and unrelenting parent to leave the house with him. Exit infuriated parent, when 
Anatole condoles with Rosa, and they are presently joined by Mercier. Anatole 
then hits upon the following ingenious device for restoring peace : he chloroforms 
his father under pretence of cooling his foreliead, places the card table as it wns be- 
fore the quarrel, and when the unrelenting parent awakes he is made to believe 
that he has only been asleep. The Chevalikb do^s not at once tall into the trap, 
but at last his intellect becomes obfuscated, and finding that he has n capital hand 
of cards, he is delighted to think that he has only been snoozinij, and all ends 
happily. Of these slender threads a pretty little piece has been woven, which has 
delighted the audiences of continental Europe for some years jjast. 



E.XPLANATION OF THE STAGE DIKECTIONS. 
The Actor is supposed to face the Audience. 



6CENJB. 



B.2S. 



/ 



B.13. 



/ 



/ 



B. 0. 



ATTDIENCE. 



\ 



L. 3r. 



\ 



\ 



L, IE, 



Z. G. 



L. Left. 

I., c. Left Centre. 

L. 1 E. Left First Entrance. 

L. 2 E. Left Second Entrance. 

L. 3 E. Left Third Entrance. 

L. IT. E. Left Upper Entrance 

(wherever this Scene may be.) 

p. L. c. Door Left Centre. 



c. Centre. 

R. Right. 

R. 1 E. Right Fu-st Entrance. 

K. 2 E. Right Second Entrance. 

R. 3 E. Right Third Entrance. 

R. u. E. Right Upper Entrance. 

D. R. o Door Right Centre. 



A GAME OF CARDS. 



SCENE — An elegant parlor in the house o/Mu. Mercier. l., a door lead- 
ing to the Chevalier's rooms, r , a ivindotv. Door in c. ; on one 
side of ivhich ift a book -case, on the other side a ."mall card-table with a 
drawer containing cards, n., a table with a chair on each side. Furni- 
ture rich, and plentiful. As the curtain rises, Mercier is discovered at 
the table, r., reading a netcspaper. RosA opposite to him, with worsted 
work, she being nearest to the window. Time, afternoon, four o'clock. 

Mercier {reading aloud'). " The great question of the day which now 
agitates Europe, has suddenlj'^ assumed a new shape." Wm \ It ap- 
pears to nie, it is always assuming a new shape, {lo Rosa, who has risen, 
and is looking out through the windotv) Rosa, what are you doing there ? 

Rosa. Nothing, papa ; I only fancied I heard 

Merc. Whatl 

Rosa. A noise in the street. 

Merc. I did not hear anything. 

Rosa. Then I must have been mistaken, (to herself) Oh, dear me I 
how long he has been away ! 

Merc, (reading). " The great question of the day which now af:;itates 
Europe — " {'Rosa ri>cs, and appronche^i door in c, listening) Rosa, you are 
not listening to me ; you are worse than ever. What is the matter with 
you, child 1 

Rosa. Excuse me, papa, but I think somebody is coming up the 
stairs. 

Merc. Well, let them come ; thoy will ring the bell, I suppose. 

Rosa {returns to her scat — asicl'). It couldn't have been Anatole \ 

Merc, {reading). "The great question of the day which now agi- 
tates " 

Rosa {looking at her watch). Oh, papa f my watch must be wrong — it 
is only a quarter to twelve. Surely it is much later. 

Merc, {looks at hisivaich). A quarter to twelve ? Your watch is right 
enough, but I am afraid your head isn't. 

Rosa. Why not, papa 1 

Merc. This morning you rose two hours earlier than usual, and yet 
you did not have breakfast ready in time. You cannot remain quiet a 
minute, but are constantly oscillating between the door and the window. 
And all this fuss is because Mr. Anatole has gone to take his degree as 
a Doctor of Medicine, and not yet returned. Well, well ; it is an im- 
portant day, both for liim and for you, to be sure, 

Rosa [approaching, and petting Mercier . Of course, dearest father! 
You know yon have given your consent to oar marriage as soon as be 
gets his decree. Oh, papa, do you think it is r/?>-y difiicull toga ilirougli 
those examinations'? 



A UAMK OF CAKDS. 

Meijc. {gravely). Why, yes ; I dare say there are a good many bones 
in them. 

Rosa {horrified). Dead bones, papa 1 

Merc, {smilhuj), No; I was only speaking metaphorically. There is 
no fear of him ; lie is a very intelligent young man. 

Rosa. Oh, papa; he is awfully intelligent! 

Merc. And I don't think he is over bashful or timid. 

Rosa {innocently). He never was so with me, papa, {checks herself.) 

Merc. H'm! Then let us hope for the best. His father, the Cheva- 
lier, my old and valued friend, who now has lived several years with us, 
insists tliat Mr. Anatole should not marry until he has a position. The 
good old man has peculiar ideas, you know. 

Ilos.\. But he is very kind. 

Merc. I don't dispute that; he is a thoroughly good and honorable 
man, but he is peculiar. Very sensitive and irritable ; the least thing 
offends him, and then he makes very disagreeable remarks. 

Ros V {smiling). And you, papa, are not a whit better. You get so 
vexed and angry, especially when you are playing cards with him. You 
sometimes do frighten me. 

Merc. H'm ! you see, my dear child, the old gentleman plays like a 
stick, and when he loses, he says that 1 don't know how to play, {laugh- 
ingly) 1 could beat the man who invented the game. (Rosa retires to d. 
c, and listens xoithout Mercier noticing it) Yesterday, for instance, while 
we were playing piquet, (pronounced pehdij) I had three kings, and 
threw all the cards away to buy — {turns around) Eh 1 

Rosa {at door, c). Now he is coming papa, {advances to Mercier, and 
looks demure.) 

Enter An.atole, c, hrisJdy. 

Axatole. Victory ! The battle is gained ! 

Rosa. And you are really a doctor? 

An AT. A real, live doctor. Approved of by the faculty of Paris, and 
licensed to kill, carve, and i)hysic my fellow-men. {takes both her hands.) 

Rosa {enthusiastically). Oh. how sf)lendid ! 

Merc. Allow me, too, Monsieur leJDocteur, to wish you joy ! {bows face- 
tiously. ) 

Ax AT. {hugs Mercier). My dear Mr. Mercier, 1 thank you with all 
my heait But I attribute my success solely to my love for dear Rosa ; 
it was the thought of her that inspired me, and kept up my courage. 

Merc. Were you not afraid 1 

An AT. Only once, when they asked me about anaesthetic substances. 

Rosa. Oh! 

AxAT. You know that they have the peculiar property of benumbing 
the nervous system, making life stand still for awhile on the threshold 
of death 

Rosa. Yes ! yes ! 

AxAT. They have always been my favorite study ; but when some 
very diffiult questions were put to me, I — well, I did begin to feel rather 
shaky. 

Rosa {anxiously). Oh, dear me ! 

Anat. But the thought of my adored Rosa drove away all fear. I 
happened to give a very satisfactory answer, spoke like a book, and all 
the medical old fogies complimented me in the handsomest maimer on 
mv success. 



Rosa. 

Merc. 



> {both at once). Capita. 



(j .V GAME OF CAUDS. 

Anat. Ami may I now hope, Mr. Mercier that the marriage contract 
will be signed this afternoon I 

Merc, Certainly! unless yonr father objects too much. 

Rosa. And why should he 1 That would be rather rich ! (pouts.) 

Mkrc. Well, you see, he hasn't yet exactly demanded your hand for 
liis son. It is understood between us ; but that is all. [to Anatolei You 
liad better see him at once, my dear boy. You know he is peculiar. 

Anat. I'm off! [Exit, d. l. 

Merc Well, Rosa, are you Iiappy now 7 

Rosa. How kind you are, my own dear father I {embraces him.) 

Mekc. While i)romoting your happiness, child, I am paying off aa 
old debt which our family owes to the Rocheferrieis. 

Rosa. An old debt ? Yuu never told me of that. 

Merc. I was silent on purpose ; because if you had known that I, and 
even my father, ardently wished for this imion, you would i)robably 
have fanci' d that you were going to be sacrificed, 

Rosa {amiling). Sacrificed to Anatole ! 

Mkrc. Oh, yes! Young ladies are sometimes as obstinate as a cer- 
tain quadruped, noted for its indifference to pearls. 

Rosa. Oh, papa ! 

Merc But^ now I don't mind telling you all about it. The grand- 
father of Anatole once rendered my father a very great service. A great 
many years ago, while my father was yet single, he was a sergeant in the 
old French Guards He was about to leave the army, to be married to 
ray dear mother, when he became involved in a serious quarrel with a 
young officer who had been making love to her in a rather unbecoming 
manner. My father couldn't stand that, and beiuL', besides, of a pretty 
quick temper 

Rosa {laur/hinghj). Which runs in the family, you know. 

Merc Well, so it does ; and I am glad of it. My father left the ser- 
vice, thrashed the puppy, fought a duel with him, and killed him on the 
spot, 

Rosa, Oh, Heavens ! 

Merc My father was in great trouble, as the young man belonged 
to a powerful family; but Anatole's grandfather interfered, and pro- 
cured his pardon. 

Rosa, How very kind of him ! 

Mekc, Shortly afteiwards the revolution broke out. The baron — I 
refer to Anatole's grandfather — had to emigrate with his son, the Che- 
valier, my old friend, having lost ail his estates. The old gentleman 
died abroad in poverty, and many years afterwards the Chevalier, who 
had married and become a widower, returned to France with his only 
child, Anatole. You know the rest, darling. I met them, and induced 
them to come and live with us gratis, making the Chevalier believe that 
iw/ father had once been under heavy pecuniary obligations to his ! 

Rosa. How good you are, papa. Hush ! here they come ! 

Enter the Cuevaliek and Anatole, l. 

Merc Well, my dear Chevalier, t hope you are satisfied Our young 
gentleman is now an M D. 

Chevalier. I am certainly much gratified at his success ; but I never 
doubted it. {c;/!>ig Mercieu with his double- glass) Did you have any 
doubts about it V 

Merc. Not I Anatole has been very studious, and has lots of brain-j. 
But, nev(M liieless. I ho])e you will ))erniit me to congratulate v.;u 1 



A GAMK Ol!' CAKDS. i 

Chev. {pressing Mercier's /i^wrf). I ieel liiglily liunorod. Mr. Moi-- 
cier ! 

Rosa. And j'^ou will allow me to do the same. 

CuEv. You are too kind, Mademoiselle, [kisses the hand of llos.v gal- 
lantly.^ 

Rosa (conducts the Creyaliek lo a chair). Pray be seated, Chevalier. 
(puts a footstool under his feet) Now you are comfortable. 

Chev, My dear young lady, how shall I thank you ? 

Anat. Do you feel better now, father ? 

Rosa {nlarmed). Have you been indisposed % 

Chev. H'm ! a mere nothing. I did not sleep very well last night. 

Merc. Ha, ha, ha! Chevaher; you felt sleepy enough while we were 
playing piquet. You slept soundly at one time. 

Chev. {sti^g). Excuse me, Mr, Mercier ; I never fall asleep while 
playing. That would be very uncivil towards you. 

Merc Bah ! not at all ! Sometimes one cannot help it, and last night 
I did catch you napping. 

Chev. X beg leave to assure you, Mr, Mercier, that I did not sleep ; 
I may have ruminated. 

Merc. But, Chevalier I 

Rosa (fo Mercier). Hush, papa ! 

Merc. All right; then you were ruminating, (aside to Rosa) He did 
sleep, and snore, too. 

Chev. [eyeing Mercier). What are you saying, Mr. Mercier ] 

Merc I was only saying that Anatole will now expect the reward for 
his labors. 

Chev. (eyeing Axatole). Oh, indeed ! He seems to be in a great 
hurry to be married ! 

Rosa (aside). Now it is coming, (retires up stage ivith Axatole.) 

Chev, H'm ! I admit that one great obstacle to their union has been 
removed, (dignified) My son now holds an independent position 

Merc Yes, he has the title of Doctor, at least 

Chev. A position which gives him a certain standing in society. 

Merc Wliich we will help him to keep up. 

Chev. That is not the question, Mr. Mercier. We do not wish to be 
under obligations to you. I dare say that my son's practice 

Merc His practice ? I had no idea he had already acquired one. 

Chev. Then you are quite mistaken. Yesterday Madame de Reval, 
a lady of the highest nobility, who had heard of my son's great talents, 
sent for him. She had a slight headache, 

Merc Bless my soul! 
■ Chev, (eyeglass). Eh 1 

Ax AT. (advancing). That reminds me, father, I must call on her at 
once, [to Rosa) I shall soon return. [Exit, c 

Chev. (rising). Mr. Mercier, can I have the honor of a private inter- 
view with you 1 

Merc Certainly, Chevalier. Hosa, leave us, my child, 

Rosa (aside, to Mekcier), I wonder if there are any fresh obstacles? 

Merc (to Rosa). Hush 1 on the contrary, he will now make a formal 
proposal. [Exit Rosa, c 

Merc I am at your service, 

Chev, (condescendingly). Pray be seated, Mr, Mercier. (both sit cloicn.) 

Merc You are very kind. 

Chev. Mr. Mercier, I am neither a proud nor a sensitive man ; but 
I must confess that your mode of expressing yourself to me is sometimes 
rather peculiar, in point of fact — cutting ! 

Merc I was not aware of that. 



g A GAME OP C'AllDS. 

Chev. Just now you seemed to have a doubt about my son's prac- 
tice! 

Merc, {laughingly). Goodness me ! he has only got his degree to- 
day ! 

Chev. Very true. But you seemed to insinuate that he ought not to 
marry yet, because his practice is rather limited. If such be your opin- 
ion, you may retract yowr word. Neither I nor my son wish to force 
ourselves upon you. 

Merc, Now come, Chevalier; haven't we both agreed that the young 
folks should be united on the very day that Mr. Anatole obtained his 
degree? 

Chev. Yes, yes ; but if you have the least hesitation 

Merc, {impatiently). But I haven't any hesitation. Have I not my- 
self made the first steps ? 

Chev. Certainly. 

Merc. I know that you, being the father of the suitor, ought, prup- 
erly speaking, to have broached the subject ; but I did so on purpose, 
out of delicacy, taking into consideration your present peculiar posi- 
tion 

Chev. Mr. Mercier, I am painfully aware of my finances being tem- 
porarily under a cloud. You need not remind me of that ! 

Merc. I did not mean to do so. 

Chev. I am not a proud man, Mr. Mercier ! I think I give you proofs 
to the contrary every day. {wipes his glasses.) 

Merc, {aside). By living at my expense, [aloud) Of course you do, 
sir ! 

Chev. These intended nuptials of my son are no doubt a great advan- 
tage to him, although I dare say that with his name and exalted con- 
nections, he might aspire to any young lady in Europe. 

Merc, {angrily). And do you think that my little girl, with her pretty 
face, and a substantial dowry, runs any risk of becoming an old maid 1 

Chev. My dear sir, you aie too sensitive. 

Merc. H'm ! You touched a very tender spot. 

Chkv. {giving him his hand). Pardon me, 1 had no such intention. 
Well, then if you really wish it so very much, and think that the mar- 
riage ought not to be postponed — / give my consent ! {fans himself com- 
placently.) 

Merc, {aside). Ugh ! he gives his consent; just as if he did us a great 
favor. 

Chev. Eh ! Did you observe anything 1 

Merc. I said, let them be married at once. 

Chev. {graciously). You shall have your wish gratified, Mr. Mercier. 

£nter Anatole, c. 

Merc, [to anatole). Well, and the patient ? 
A NAT. Completely recovered. 

Chev. {makes an apj)rov!ng gesture /o Mercier). There, you see ! 
Merc. A good beginning. Anatole. 

Anat. She only had a slight nervous attack, for which I applied some 
chloroform. I happened to have it about me. 

Enter Rosa, advancing to Mercier. 

Rosa {softly). Has the Chevalier proposed ? 

Merc, {to Rosa) Yes, in his own way. {lo Anatole) And now you 
may lay aside the doctor, and put on the lover. Bless me ! where are 



A GAMK OF CAKDS. 9 

the documents ? Rosa, go to my writing-table and bring those papers. 
Rosa [enqtrly). Those papers, papa, those? 
Merc. Yes, child, those— yow know which I mean. 
Rosa {aside). Don't I? 

Exits, c, quickly, and returns at once with adocttmott, which Mercier takes 
from her. 

Merc, {sits down with the Chevalier). I have made the following? 
dispositions, my dear Anatole, which I now beg leave to mention : The 
Chevalier will retain his apartments, I mine. The rest of the house will 
belong to you and my daughter. We all breakfast and dine together, 
as before, and the whole of the expenses are defrayed bv me. Further, 
1 give my daughter a dowry of 200,000 francs, in Government Bonds. 

Anat. Oh, Mr. Mercier, this is too much ! 

Chev. Certainly ! my son's practice 

Merc What Anatole makes by his practice he can spend in presents 
to his young wife, and playthings for the children, {to himself) I dare 
say they will come before the practice. 

Chev. (eyeglasses). What were you pleased to observe, Mr. Mercier? 

Merc. I said, we have it all here, cut and dried, for the Notary. 

Chev. {magnnnimonsly). AnaLole, yon will be good enough at the same 
time to have my dispositions inserted. H'ni ! I bequeath to you, my 
dear children, all the property, movable and immovable, of which I 
may at any future date become possessed, by purchase, inheritance, or 
otherwise. (Omnes endeavor to hide their smiles ) 

Merc {aside). Well, that tickles me to death, almost ! 

Chev. {smpicioitsly). Did you make any objections, Mr. Mercier ? 

]\Ierc. I said they ought to be very thankful. (Chevalier bows gra- 
cionsly) And now, Chevalier, that we have settled all those trifles, let us 
have our game of piquet. 

Chev. {livehi). if that can please you, I shall be happy to oblige. 
{rubs his hands.) 

Merc {aside). He is always obliging me ; well, I never ! Rosa, get 
the table ready. (Rosa and Anatole bring the card-table from c, take 
cards from the drawer, etc.) Now, Chevalier, make good use of your 
glasses, so that you don't throw away the king of diamonds instead of 
hearts, as you did yesterday. 

Chev. I am sure you ought not to complain of what gave you an ad- 
vantage. {Mercier and the Chevalier seat themselves at the card-table ; 
Chevalirr to L., Mercier to r. Anatole and Rosa, l., the latter with 
. her worsted work. Mercier deals.) 

Anat. How beautifully you do those things, Rosa. 

Rosa. It is for our own parlor. 

Anat. Why, it is almost ready. 

Rosa. I commenced it long ago. 

Anat. Ah ! 

Merc Look sharp, young gentleman. The Notary must be here at 
five ; we sign the contract before dinner. I say, Chevalier, do we play 
for love, or what 1 

Chev. {proudly). Certainly not. 1 have already put my stake. 

Merc All serene ! 

Anat. {aside to Rosa). Good bye ! so long ! The happy hour is fast 
approaching. [Exit, c, kissing his hand at Rosa. 

Merc Well, Chevalier, what do you say 7 

Rosa (to Mercier in an undertone). If 'the Notary dines with us, we 
shall only be five at diuner. 



10 A GAME uF CAKDS. 

C'tiRV. ((o Meiicier). Six diamonds. 

Me KG. {to Rosa). Only five, yes ! 

Chev. I said six, Mr. Mercier, and a quinte Major, tbat makes twenty- 
one. 

Merc, {to Rosa). That is to say, the Notary's clerk will also dine 
with us ; he is a friend of Anatole. 

CuEV. {dryly). My dear sir, if you have domestic arrangements to at- 
tend to, we may as well give up playing. 

Meuc. Oh, L beg your pardon ! 

Chev. That makes twenty-one, and fourteen aces, altogether ninety- 
five! 

Merc. Excuse me, but I have got seven hearts, consequently 

Chkv. Too late ! When I said I had six cards, you answered, " only 
five." 

Merc I was spealdny; to my daughter then, saying '■ only five i)er- 
sons at dinner;" that is a mistake, you see. 

Chev. That is not my fault. 

Merc {angrily). Very well, sir, then the fault is mine, as usual. Rosa, 
I think you had better leave us alone; you are always disturbing us. 

Rosa. As you like, papa. [Exit, c, singing. 

Chev, And besides. \ ou are ' match !" {hums an air triumphontlg.) 

Meuc Well, you ^\ in the game through my mistake, that is all. 

Chev. {dealing cards). Exactly as you won one from me yesterday. 

Mkrc Oh, no, that was quite different. 

Chev. It was exactly tlie same case. 

Meuc. I say it was not! Well, sir, are you ready 1 

Chev. I am waiting for you. 

Merc Six spades ! 

Chev. I have also six. but they are hearts. 

Merc I beg pardon, you can only have five hearts ; con.sequently, I 
count six, and besides a quinte in spades ! 

Chev. H 'm ! Permit me at least to look at my cards. 

Merc. \ impatiently). Oh, dear me ! 

Chev. {dryly). If you are so pressed for time, Mr. Mercier, we had 
better postpone our game till another day. After all, one plays for 
amusement. 

Merc Perfectly true, {lays dotcn his cards, leans hack in his chair with 
the air of a martyr. \ 

Chev. Well, sir, I am waiting for you ! 

Mekc {talcing his cards). Oh, really 1 Well, then, fifteen and six 
make twenty-one. Besides, I have three aces ; {short pause) three 
queens, and three tens, makes ninety, 91, 92, 93, 94, ninety 

Chev. One moment, if you please, Mr. Mercier. Three aces and three 
kings don't count ; because I have fourteen kings ! 

Merc Wiiy did you not say so before ? 

Chev. Why 1 Because I had not seen my hand. You don't give me 
time to look at my cards. 

Merc I am very sorry; but now it is too late ! 

Chev. That is to say, you mean to take advantage of my oversight 1 
H'm ! in this manner it is very easy to win a game, 

Meuc Exactly what you did yourself, just now. 

Chev. [angrily). Oh, that was entirely different! 

Merc Not a bit of it! 

Chev. But I say it was. 

Merc And I say it wasn't ! 

Chev. My dear Mr, Mercier, permit me to observe that you don't 
know the rules of the game. 



A GAME o¥ CAKUS. It 

Merc. Don't H That is tlie leason, I suppose, why ?/o» are ahvays 
losing 1 < 

Chev. You only win, my dear sir, when you steal a march upon me. 

Mhrc. [sharply). Steal a march ! What do you mean by such insinu- 
ations 1 

Chev. I mean to say that a good player never resorts to such miser- 
able subterfuges. 

Merc. Subterfuges ! Why don't you tell me plainly that I cheat ? 

Chev. {contemptuously). Sir, I never avail myself of such vulgar ex- 
pressions ! 

Merc {furiously) No! but you do what is still worse; you make 
base and artful insinuations, {rises, and banys his cards on the table) You 
are an abominable player ! You will finish by driving me out of my 
own house by your confounded conceit. I wish you were — H'm ! I 
wish the cards were at the bottom of the sea ! 

Chev. {lai/s doicn his cards, and rises slowly). I am not conceited, Mr. 
Mercier, nor am I proud. I think I have given you a striking proof 
thereof this very day, when I overlooked the immense distance be- 
tween a nobleman and a dry-goods merchant, and gave my consent to 
my son's alliance with your family. 

Me;io. Ha, ha, ha ! A great honor, indeed! 

Chev. Most certainly ! 

Mkuc. And in my opinion, Mr. Nobleman, your son ought to be 
devilish glad to marry the daughter of a drygoods-man, who gives his 
daughter a dowry of 200,000 francs, and keeps Lhem besides. 

Chev. Money has very little value in my eyes. It is made, now-a- 
days, in ever so many ways. 

Mbuc. In which ways, for instance 1 

Chev. How do I know 1 I only esteem wealth when coupled with an 
old and noble name ! 

Merc. And I consider a noble name a miserable thing when a man 
hasn't got a red cent ! 

Rosa appears in door c. 

Chev. You forget, sir, to whom you speak ! 

Mkkc. And you forget, sir, that one should never despise those from 
v/hom one condescends to accept benefits. 

Ro5A {crosses to her father). Dear father, I beg of you 

Merc. Leave me alone, child ! 

Chev. {trembling ivith excitement). Enough, sir ! I ought to have fore- 
seen this when I placed myself under obligations to a man without edu- 
cation, without delicacy — in one word — an upstart ! 

Rosa. Chevaher! 

Merc, (^o Rosa). There, you hear ! 

Chev. I ought to have remembered that a herring-barrel will always 
retain the perfume of the herrings 1 

Rosa. Oh, Chevalier ! 

Enter Anatolb, c. 

AxAT. {beamingly). The Notary will be here at five, precisely ! 

Rosa. Oh, Anatole, if you knew what has happened! 

Chev. ]\Iy son, the marriage contract will not be signed ! 

Anat. Why nof? 

Chev. I withdraw my consent ! 

Anat. Oh, Heavens ! 

Merc Just as you like, Chevalier. 

Chev. Your father has been insulted ! 



12 A GAMK OF CARDS. 

Anat. Oh. impossible ! 

Merc. To slight me and my daughter ! 

Chev. (/o Anatolk). He has com|>lained of my poverty! 

Merc. No ! only of his infernal pride. 

Chhv. After such an insult, ray son, we cannot remain any longer in 
this house. Come ! [takes Axatole's arm.) [Ikeunt both, l, 

Rosa {weeping). Oh, merciful Heaven ! 

Merc. You have heard, Rosa, how he treated me 1 Those beggars 
on horseback ought tt) kiss my hands. 

Rosa. Oh, my dear father ! {iveeps silently.) 

Merc. Eh? I believe you are blubbering in the bargain I Have 
you no pride, no sympathy with your father 1 

Rosa. Papa, you misunderstand me. 

Merc. Enough ! leave me alone, {closes the card-table, and places it in 
corner of r. c.) Hang the cards ! Well, never mind, [to Rosa) Don't speak 
to me, child ; and don't follow me. I forbid you say a word to me, and 
even to ^/iiw/t of that young fellow. Do you hear? Herring barrel ! 
Oh ! [Exit, c. 

Rosa. Not think of him 1 as if Anatole could help his father being 
proud and cruel. Oh ! who would have foreseen this half an hour ago 1 

Enter Anatole, l. 

Anat. Rosa ! my own beloved Rosa ! how did all this happen ? 

Rosa. They quarreled about their game. 

Anat. And our happiness is at an and for the sake of such a trifled 
Is it impossible to reconcile them ? 

Rosa. Quite impossible, I should say ! 

Anat. Alas ! I fear that your father wrnt too far ! 

Rosa {with dignity). No indeed ! It was ^/owrfather vybo went too far, 
and offended mine grossly. 

Anat. [gravely). Excuse me, that is impossible! My father could 
never do that. Mr. Mercier must have made some remarks that a man 
of honor, like ray father, could not listen to. 

Rosa. You are mistaken, sir. It was your father who first insulted 
mine. The Chevalier is so proud. 

Anat. And Mr. Mercier is so hasty. 

Enter Mercier, c, unseen by the others. 

Merc {stands still on the threshold). Ah, together ! 

Rosa. My father is incapable of offending even a child. He is so 
kind and generous that he would not harm the meanest of God's crea- 
tures. I feel convinced that even now he i.s suffering as much as we 
do. It is wrong of you, Anatole, not to acknowledge that. 

MiiRC. [to himself). She is a good child ! 

Anat. I esteem your father very highly, Rosa ; but after what has 
happened, mine can no longer remain here, and it is my duty to follow 
him, to take care of him in his old age ! 

Rosa [applying her handkerchief to her eyes). Good-bye, Anatole ! 

Anat. {pressing her hand). Good-bye, dearest Rosa, good-bye ! {turns 
to go.) 

Merc (advancing). Stay, Mr. Anatole, one word ! 

Rosa. Ah, my father ! {turns to go.) 

Merc Stay, child ! (to Anatole) Where does your father intend tc 
go? 

Anat. Alas ! I don't know. To a hotel, I suppose. 



A GAME OF CAKDs;. 13 

Merc. He is very angry, then ? 

Anat. He says you liave deeply offended him. 

Merc. It is true. T said some things to him that 

Rosa. And so he did to you, papa ! 

Merc. Certainly ! he did not spare me, but I was hard, very hard. 
One sliould not let a man feel that he has been the recipient of benefits. 
And wliat was it all about ? A miserable game of cards ! Ugh ! he 
does play a very poor game, but I knew that, and ought ilT5t. to have 
forgotten that he is my senior by twelve years, and my guest besides. 
{iviphif/ his forehead) If my old friend will accept an apology, I am 
wiUing to make one ! 

Ro.-A. Dear, good papa ! 

Merc What do you think of the matter, Mr. Anatole ! 

An at. If my father were rich and happy, he would forestall you, 
but 

Merc. Yes, yes! I comprehend ! 

Anat. But being poor and unfortunate, I am afraid he will, not 
agree to a reconciliation. 

Merc. What is to be done, then"? 

Anat. Alas ! I know not ! 

Merc But we must try to hit upon an expedient, as we are three 
who all of us wish to make him forget the past. 

Anat. Forget the past! but how ? {suddenly) Stop! I have an idea 
I may perhaps succeed. Oh ! if 1 only dared ! 

Rosa ^ 
and > (^ai once). What is it 1 speak ! 

Merc. ) 

Anat. Oh! I hear his footstep. He must pass through this room on 
his way out. Leave me a moment alone with him. 

Rosa. Oh! I hope you will succeed! [Exeunt Rosa and Mercier, c 

Enter the Chevalier, l.. with his hat on, a light overcoat over his arm, a 
slender carpet-bag in one hand and a bird-cage in the other, 

Anat. {aside). I will risk it ! 

Chev. Anatole, have you found somebody to take charge of our 
effects 7 

Anat. Not yet, father. 

Chev. Then make haste ! I'll depart at once. 

Anat. But you are too excited yet, my dear father ! 

Chev. No wonder I tremble all over when 1 think of the insult ! 

Anat. {feels his pulse). Yes, and your head aches. You must first 
rest a little. Do sit down, ( pushes an arm-chair towards him) I beg of 
you. 

Chev. Thank you; it is quite superfluous. 

Anat. Only a few moments till I get a coach. 

Chev. {sits doion. The chair should be placed where his chair was before 
the quarrel). Well, then. — Ah ! I forgot a couple of books in that 
l>ook-case, " The War of the Vendee," and " The History of our No- 
bility.' 

Anat. I shall bring them, {crosses 1o book-case in c, and returns imme- 
diaiely with two books, giving them to the Chevalier.) 

Chev. I will put them in my carpet-bag. {ivhile he opens the carpet-bag, 
and puis the books therein, Ana ole stands behind him, takes a small bottle 
out of h's pocket, and puts some drops of the contents on his handkerchief, up- 
on which he approaches the Chevalier.) 

Anat. You exert yourself too much, sir ! you will get worse. 



14 A GAME OF CARDS. 

Chev. I feel very pooii3\ {lemishis head back in the chair) Heigho ! 

Anat. Your forehead is burning hot. Let me — {he applies the hand- 
kerchief to his father's brow and face. The Chevalier immediately bends hia 
head and falla asleep. Anatole kneels before him, kisses his hand — speak- 
ing in an undertone) My poor, dear father, forgiv this deceit. Forgive 
me, if I let your life cease for a little while, that it may henceforth be 
made all the more happy through the love and devotion of your chil- 
dren I {rises softly^ and lakes the carpet-bag, overcoat-, hat and caye, retiring 
up stage.) 

Enter Rosa and Mercieu, c. 

Rosa {looking at the Chevalier). Heavens ! Anatole ! What has hap- 
pened to your father ? 

Anat. Hush! only chloroform. No danger whatever, and when he 
awakes he will have forgotten the whole thing ; but make haste, and 
don't speak too loudly. 

Merc. What are we to do / 

Anat. Place the card-table exactly where it was before the dispute. 
(Rosa and Mercier do so) Deal the cards as they were, if you can. 

Merc. I'll attend to that, {arranges the cards.) 

Anat. Ah, 1 forgot the two books ! [opens the carpet-bag and gives RosA 
the two books) There, Rosa, put them in the book-case, bottom shelf, 
right (Rosa does so.) 

Exit AxATOLE, L., with hat^ coat, cage., and carpet-hag, returning immediately. 

Merc. Rosa, give me the newspaper, and sit down exactly where you 
were sitting before. (Rosa obeys.) 

Anat. Now I think I will awake him. {opens the window, r., shuts it 
shortly after, and returns to his father. Mercier reads the newspaper at 
the card.' table RoSA works at her xcorsied.) 

Rosa. How my heart beats ! 

Anat. And mine, too ! {sits down by Rosa.) 

Chijvalier awakes softly, .<!tretches himself, and on opening his eyes, he looks 
around in surprise, first at Mercikr, who is reading, then at the card- 
table, next at Anatolb and Ro.-a, loho are convsrsing in an undertone. 
Pause. 

Merc, {looks up from the paper). Well, ray dear sir, this time you have 
had a famous little nap. 

Chev. Eh, what? {^utterly bewildered.) 

Merc. You must confess I have been patient enough this time, and 
given you plenty of time to look over your cards, {yawns) I nearly fell 
asleep myself over the paper. 

Chev. {after eyeing M-ercier suspiciously). H'm ! Anatole! 

Anat. JPapa ! 

Chev. What are you doing there 1 

Anat. I was speaking to Miss Rosa, telling her about the happiness 
which is in store for us. How soundly you slept, papa! 

Chev. {rubbing his eyes). Have I been asleep 1 

Merc. Now, Chevalier, let us finish the game before the Notary 
comes with the contract. 

Chev. (eyeing them all suspiciously). H'm ! 

Merc. It is for you to begin. I expect you have a number of clubs. 

Chev. Excuse me a moment. Anatole, what does all this mean 1 
What did you say just now 1 



\ GAME OF CARDS. 15 

Anat. I said you had slept soundly, papa ! 

Chev. {to himself). Can I really have been asleep 'J (aloud) Did not 
you go to the Notary 1 

Anat. Yes, and he will be here by five o'clock. 

Merc, {impatiently). Now, Chevalier, don't keep me waiting any 
longer. 

Chev. (rises). And when you returned, Anatole, were you not witnes:^ 
to the insult I received? 

Mekc. (rising). Insult 1 here in my house 1 'Who has dared ] 

Chev. (bewildered). 'Who has dared, you say ? 

Anat. When I returned, papa, you were asleep, and Mr. Mercier 
whispered to me not to awake you, 

Chev. Ah ! 

Rosa. About half an hour ago. 

Chev. Ah! * 

Rosa. And we did not stir, not wishing to disturb you. 

Chev. I must be dreaming. 

Merc. Not just now, but I should not wonder if you have been. 

Chev. (short pause). H'm ! No, they would not dare to do that, and 
yet I am cert«iin that .... Anatole, my carpet-bag ! 

Akat. (surprised). Your carpet-bag '? 

Merc A carpet-bag ! "What for 1 

Anat. 1 don't see any, papa I suppose it is in your alcove. 

Chev. Did you not help me to put some books into my carpet-bag just 
now ? 

Anat. Which books 1 

Chev. " The War in the "Vendee," and " The Anna's of our Nobility." 

Rosa. I think they are in our book-case, (retires to hook-case in c, and 
returns with the books) Here they are ! 

Chev. It must have been a dream then, (to himself) Stop ! the key 
to my carpet-bag. I put it into my vest-pocket, (fcas) 1 have not got 
it ! [JExit, h. 

Rosa. Oh, if he were to discover 

Anat. Don't be afraid ; I put the key in the old place. 

Merc Keep a stiff upper lip! (to Chevalier, who enters, l.) What are 
you looking for 1 

Chkv. Nothing, thank you; it is all right. Then,, after all, Mr. Mer- 
cier, we have not been quarreling ? 

Merc. We quarreling on a day like this, and about what, then 1 

Chev. About our game, you know I 

Merc. How, my dear sir, before we have commenced ] Later on, I 
dare say, we shall have a little tiff as usual. 

Chev. And we have not been insulting each other 1 

Meuc. Insulting ! why 7 Two men who esteem eacli oilier would 
be fools to do so with their eyes open. If, while you were snoozing. 
Chevalier, you have insulted me, I forgive you with all my heart. Here 
is my hand, and may our friendship last till death do us part ! {offers 
him his hand.) 

Chev. (looks keenly at Mi-rcier and the others, then grasps the hand of the 
former). So mote it be, brother Mercier! (Anatole snatches a kiss from 
Rosa, who pouts.) 

Merc "Well, then, and our game 1 "We have ten minutes yet. 

Chev. (cheerftdly). I shall be happy to oblige you, Mercier ! (Cheva- 
lier and Mercier resume their game.) 

Merc It is your lead. 

Chev. {looks at his cards withdelight). What a splendid hand ! One quintj 
fourteen aces! (Anatole <?««? Rosa stand behind him looking on ) 



16 A GAME OF CARDS. 

Anat. itchispcrivg to Eosa). Victory ! 

Chev. [showing his cards triumphardly). You cannot beat this, m}' dear 
friend. This is deridedly the most delightful game of cards I ever 
played. My deal ! {cleals cards, lohile the curtain drops ) [iV. B. It would 
le u- ell for the players to acquire a slight knoivledge of the ieehnicalities of 
piquet before rehearsing.'] 

L., Chevalier. Table. Mercier, r. 

Rosa, Anatole, standing. 

CURTAIN. 




"S'.vscto:it Shake qiere, Nature's child , 

Warbles his native wood-notes wild.'"— Milton. 

2^^ PUase notice that nearly all the Comedies, Farces and 
Comediettas in theJoUozuing List of '"De Witt's Acting Plays " . 
are very suitable for' representation in small Amateur Theatres 
and on Parlor Stages, as they need but little extrinsic aid from 
complicated scenery or expensive costumes. They have attained 
their deserved popularity by their droll situations, excellent 
plots, great humor and brilliant dialogues, no less than by the 
fact thdt they are the most perfect in every respect of any edi- 
tion of Plays ever published either in the United States or 
Europe, whether as regards purity of the text, accuracy and 
fulness of stage directions and scenery, or elegance of typo- 
graphy and clearness of printing. 

*._,* Ill ordering, please copy tlio figures at the commencement of'each 
piece, which indicate the number of the piece in " De AVitt's List of 
Acting Plays." ^ '-^ 

^^ Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents.; 

Address, ' ROBERT M. DE WITT. 

JS^'o. .?.? 7io.se Street, A'en- York. 



DE T^ITT'-S ^CTIira P'X-ATS- 

No. 

1 CASTE. An original Comedy in three acts, by T. W. 

Robertson. A lively and effective satire upon the times, played successfully in 
America, at Wallack's. Five male and three female characters. Costumes, 
modern. iScenery, the first and third acts, interior of a neat room ; the second 
a fashionable room. Time in representation, two hours and forty minutes. 

2 NOBODY'S CHILD. A romantic Drama i\\ three acts, hy 

Watts IMiillips. Eighteen male and three female characters. A domestic 
drama, wonderfully successful in London, as it abounds in stirrinir scenes 
and capital situations. Costumes modern, suited to rural life in Wales. 
Scenery is wild and picturesque. Time in representation, two hours and a 
quarter. 

3 £100.000. An original Comedy in three acts, "by Henry J. 

Byron. Ei<;ht male and four female cTiaiacters. A most effective piece, 
played with a])])lause at Wallack's. Costumes of the day. Two scenes are 
requued— a comfortably funiished parlor and an elegant apartment. Time 
in representation, one liour and three quarters. js^. 



DE WITT'S ACTING PLAYS. 



No. 

4 DANDELION'S BODGES. AFarce in one act, liy Thomas 

J. Williams. Four male and two female characters. A rattling piece. The 
part of Dandelion excellent for a low comedian. Costumes of the day. Sce- 
nery, a picturesque landscape. Time iu representation, fifty minutes. 

5 WIIi"LIAM TELI. ^WITH A VENGEANCE; or, the Pet, 

the Patriot and the Pippin. A grand nevv Burlesque by Henry J. Byron. 
Eight male and two female characters. Replete with telling allusions. Cos- 
tumes of the period of the middle ages, grotesquely exaggerated. Five 
scenes in Switzerland. Time iu representation, one hour. 

6 SIX MONTHS AGO, A Comedietta in one act, hy Felix 

Dale. Two male and one female characters. A really effective little piece, 
suited to amateurs. Costumes of the day. Scene, morning room in a country 
house. Easily produced. Time in representation, forty minutes. 

7 MAUD'S PERIL. A Drama in four acts, by Watts 

Phillips. Five male and three female characters. Strong and sensational. 
Costume of English country life of the period. Scenery not elaborate. Time 
in representation, two hours and a half. 

8 HENRY DUNBAR ; or, a Daughter's Trials. A Drama 

in four acts, by Tom Taylor. Ten male and three female characters. One 
of the best acting plays of the day. Costumes of the period. Scenery 
modern English. Time in representation, three hours. 

9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. 

A farcical interlude in one act, by Charles Selby. Four male and one 
female characters. A very laughable piece, easily produced ; certain to bring 
down the house. Costumes of the day. Scene, a genteelly furnished bed- 
room. Time in representation, forty minutes. 

10 THE SNAPPING TURTLES; or, Matrimonial Masqae- 

rading. A duologue in one act, by John l>. Buckstune. One male and one 
female character, who assume a second each. A very ludicrous farce ; has 
been eminently successful. Costumes of the day. Scene, a drawing room. 
Time in representation, one hour. 

11 \VOODCOCK'S LITTLE GAME. A Comedy Farce in 

two acts, by J. Maddison Morton. Four male and four female characters. 
A sparkling, lively composition, by one of the most humorous dramatic 
authors. The part of Woodcock has been performed by Charles Mathews 
and Lester Wallack. Costumes of the ])eriod. Scenery, modern apartments, 
handsomely furnished. Time in representation, one hour. 

12 A WIDOW HUNT. An original Comedy in three acts, 

by J. Sterling Coyne. Four male and four female characters. An inge- 
nious and well known alteration of the same author's '-Everybody's Friend," 
the part of ISIajor Wellington de Boots having been rendered popular by Mr. 
J. S. Clarke in England and America. (Jostumes and scenery of the 
period. Time in representation, two hours and a half. 

13 RUY BLAS. A romantic Drama in four acts, from the 

French of Victor Hugo. Twelve male and four female characters. This 
piece was eminently successful in London when produced by Mr. Fechter. 
It contains numerous scenes, capable of being performed unconnected with 
the drama, by amateurs. Spanish costumes of 1C)92. Scenery, halls and apart- 
ments in the royal palace at Madrid. Time in representation, three hours 
and a half. 

14 NO THOROUGHFARE. A Drama in five acts, with a 

prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six 
female characters. Very successiul as produced by Fechter in England and 
by Florence in America. Costumes modern but often changed. Scenery 
complicated; English exteriors, Swiss intericjrs and Alpine passes. Time 
in representation, three hours and forty minutes. 

13> MILKY W^HITE. A domestic Drama in two acts by H. 

T. Craven. Four male and two female characters. A good actin;r, pathetic 
pii?ce. Costumes English, of the present day. Scenery, an exterior and in- 
teiior. Time in representation, one hour and a half. 



DE WITT'S ACTING PLAYS. 



16 DEARER THA.N LIFE. A serio-comic Drama in three 

act.s, by Henry J. Byron. Six male and live female; eliaracters. An cd'ective 
piece, wiiieh could he reatiily i)orf()rn)ed l)y ainateuis witli siieccss. Co8- 
tinne<, l':iii,'lisli of the Onj. Scenery, two interiovsj, easily arranged. Time in 
representation, two Lours. 

17 KIND TO A FAULT. An original Comedy in two acts, 

by William Brougli. Six male and four female characters. A well written 
composition with well (h-awn characters. Costumes of tli'^ present day. 
Scenery, two elcLraiitiy furnished interiors. Time in representation, one 
hour and twenty minutes. 

18 IF I HAD A THOUSAND A YEAR. A Fares in one 

act, by Joliu Maddison Morton. Four male and three female charac- 
ters. A spiendid social sketch — the part of Green being excel cnt for a good 
light comedian. Costumes of the present day; and scenery, a neatly fur- 
nished interior. Time in reprefsentation, one hour and fifteen minutes. 

19 HE'S A LUNATIC. A Farce in on© act, hy Felix Dale. 

Tlirce male and two female chiracters. A sprightly, laughter-provoking 
production. Modern dr. sses ; and scene, a drawing room, T^me in repre- 
sentation, forty minutes. 

20 DADDY GRAY. A serio-comic Drama in three acts, 

by Andrew Halliday. Eight male and four female character?. One of the 
author's most effective and natural compositions. Dressesof the present day. 
Scenery, interior of a cottage, a lawyer's office, street and archway, and 
cottage with landscape. Time in repi'esentation, two hours. 

21 DREAMS ; or, M/ Lady Clara, A Brama in live acts, T>y 

T. W. Itobertsou. Six male and three female characters. Full of thrilling 
incidents, with several excellent parts for both male and female. Was suc- 
cessfully brought out at the Boston Museum and New York Fifth Avenue 
Theatre. Costumes, modern German and English. Scenery, interiors and 
gardens, rather complicated, but effective. 

22 DAVID GARRICK, A Comedy in three acts, hy T. W. 

Robertson. Eight male and three fenuile characters. Most effectively per- 
formed by Mr. Sothern in England and m America with decided success. Cos- 
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in 
representation, one hour and three quarters. 

23 THE PETTICOAT PARLIAMENT. An Extravaganza 

in one act, by Mark Lemon. Fifteen male and twenty-four female charac- 
ters. A revision of the "Ilou.se of Ladies." Pcrfonned with great success 
at Mitchell's Olympic in New York. The costumes are extremely fanciful 
an-l exairgerated. Scenery, modern English. Time in representation, one 
liour and five minutes. 

24 CABMAN No. 93; or, Fonnd in a Four "Wheeler. A 

Farce in one act, by Thomas J. Williams. Two male and two female char- 
acters. A ludicrous piece, with a cabman for the first low comedian, and a 
stock broker as eccentric character part. Costumes of present day. Scene, 
a furnished. room. Time in representation, forty minutes. 

25 THE BROKEN HEARTED CLUB. A Comedietta, hy 

J. Sterling Coyne. Four male and eight female characters. A laughable 
• satire on the Women's Rights movement. Costumes modern English. 
Scenery, a drawing room. Time in representation, thirty minutes. 

26 SOCIETY. A Comedy in three acts, hy T. W. Robert- 

son. Sixteen male and live female characters. A play exceedingly popular, 
intended to exhibit the foibles of British Society and to ridicule the election 
system. Costumes of the present day. Scenery elaborate. Time in repre- 
sentation, two hours and a half. 

27 TIME AND TIBE. A Drama in three acts and a pro- 

logue, by Henry Leslie. Seven male and five feranlo characters. An effec- 
tive piece, with novel and striking incidents. Costumes English, present 
day. Scenery, London marine scenery. Time in rei)resentation, two hours. 



No. 

28 A HAPPY PAIR. A Comedietta in on© act, by S. 

ThejTG Smith. One male and one female character. A neat dramatic 
sketch of a conjugal misunderstanding. ^lodern dresses. Scene, a drawing 
room. Timo in representation, tvvuuLy minutes. 

29 TURNING THE TABLES. A ITarce in oao act,ljy John 

Poole. Five male and three female characters. One of the happiest efforts 
of the famous author of "Paul Pry." The part of Jeremiah Bumps is re- 
dolent with quaint humor. A standard acting piece. Dresses and scenery 
of the present day. Time in repreicniation, sixty-live minutes. 

30 THE GOOSE WITH TH^ G3I.BSN EGGS. A Farce 

in one act. by Augustas Mayhew and Sutherland Edwards. Five male and 
tliree female characters. Gay, rollicking, lull of incessant action, having 
three of the most comical characters imaginable. Costumes of the present 
period. Scene, a lawyer's office. TimcinVepresentation, forty-five minutes. 

31 TAMING A TIGSR. A Fares in one act, altered from 

tlie French. TJiree male characters. In this a dashing li^ht comedian and 
fiery, petuhxnfold man cannot fail to extort applause. Modern dresses : and 
Hcene, a modern apartineut. Time in representation, twenty live minutes. 

32 THE lilTTLE REBEL, A Farce in oae act, by J. Ster- 

ling Coyne. Four male and three female characters. An excellent piece 
fora sprightly young actress. Dresses and scenery of the present day. Easy 
of production. Time in representation, about |Drty-tive minutes. 

33 ONE TOO M.AtNT FOR HIM, A Farce in one act, "by 

Thomas J. \Villh,,js. Two male and three female characters. Adapted 
from a popular ^'rench vaudeville. Costume of the time. Scene, parlor 
in country house. Time of representation, fifty minutes. 

34 liARKIN'S LOVE LETTERS. A Farco in one act, "by 

Thomas J. Williams. Three male and two female characters. The piece 
has excellent parts for first low comedy — first old man and a soubrctte. 
Dresses of the day. Scene, a parlor. Time in representation, forty minutes. 

35 A SILENT WOMAN. A Farco in one act, by Thomas 

Ilailes Lacy. Two nnilc and one female characters. One of the prettiest 
little pieces on the English stage. Dresses of the period. Scene, a drawing 
room. Time in representation, thirty-five minutes. 

36 BLACK SHEEP, a Drama in threa acts, from Edmund 

Yates' novel of tiie same name, and arranged for the stage by J. Palgrave 
Simpson and the iinthor. Seven male and live female characters. Costumes 
of tiie present time. Scenery, an interior ; gardens at Homburg, and a 
handsome parlor. Time in playing, two and a haif hours. 

37 A SILENT FROTEOTOR. A Farce in or.e act by Thom- 

as J. Williams. Tliiee male and two female characters. An active, bust- 
ling piece of ingenuity, which affords abundant ojjportunities for the display 
of Quickfidgefs eccentricities. Costumes of the period. Scene, a drawing 
room. Time in representation, forty minutes. 

38 THE RIGHTFUL HSIR. A Uramainfive acts, by Lord 

Lytton (Sir Edward Lytton Dulwer). Ten male and two female ch;iracters. 
A revision and improvement of the author's play of the ''Sea Captain," 
originally produced under management of Mr. Macready. Costumes of the 
English Elizabethan period, armor, doublets, tights, &c. Scenery pictu- 
resque and elaborate. The play contains numerous scenes and passages, 
which could be selected for declamation. Time in representation, two hours 
and forty-five minutes. 

39 MASTER JONES' BIRTHDAY. A Farce in one act, by 

John Maddison Morton. Four male and two female characters. A very 
amusing and effective composition, particularly suited to amateurs. Dresses 
of the day ; and scene, a plain interior. Time of playing, thirty minutes. 

40 ATCHI. A Comeiietta in one act, by John Maddison 

Morton. Three male and two female characters. A gem in pleasantry, 
whose conclusion is irresistibly comic. Costume of the day. Scene, a taste- 
fully laid out garden. Time in representation, forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

41 BEAUTIFUL FDRL.VER. AFarca in ono ncSty Fred- 

crick Hay. Two male and two IVmalo characlers. A gpriglitly .satirical re- 
buke to tiioso that, patronize advertised nostrums. C'ostuine.s of the day. 
Scene, a handso.ne interior. Time in representation, forty niiuutes. 

42 TIME AND THE HOUR. A Drama iu threo acts, by 

J Palgrave Simpson and Felix Dale. Seven male and three female charac- 
ters. An excellent acting play, full of life and incident, the parts of 
MedUcott and Marian Beck being capable of impressive representation— all 
others good. Costumes of the present period. Sctnery, gardens and ex- 
terior, cottase and garden, and an old oaken chamber. Time in representa- 
tion, two hours and a half. 

43 SISTE'J'Xir SERVICE. An original Comedietta in one 

act, by J. P. Wooler. Seven male and two female characters. An interest- 
ing piece. Costumes, rich dresses of the musketeers of Louis XUl. 
Scenes, an apartment of that period, and a corridor in the royal palace of 
France. Time in representation, forty minutes. 

44 WAR TO THE KWIFE. a Comsrly in three acts, by 

Henry J. Byron. Five male and four female characters. A pleasing, enter- 
taining and morally instructive lesson as to extravagant living ; capitally 
adapted to the stage. Costumes of the present time. Sce;ies, three interiors. 
Time in representation, one hour and three quarters. 

45 OUR DOMESTICS, A Come-iy Farce in two acts, "by j 

Fredericlv Hay. Six male and six female characters. An irresistibly face- S 
tious exposition of high life below stairs, and ot the way in which servants 
treat employers during their absence. Costumes of the day. Scenes, 
kitchen and"dining room. Time in representation, one hour and a half. 

46 MIRIAM'S CRIME. A I^rama in tliree acts, hy H. T. 

Craven. FiA e mal- and two female characters. One of the best acting plays, 
and easily i)ut on the stage. Costumes modern. Scenery, modern English 
interiors,' two in number. Time in representation, two hours. 

47 EASY SHAVING. A Farce in one act, by F. C. Eur- 

nand and M' ntagu Willian^s. Five male and two female characters. A 
neat and eilective piece, with excellent parts for low comedian and singing 
chamber maid. Costumes of the days of Charles II of England. Scene, a 
barber's shop. Time in representation, twenty-five minutes. 

48 LITTLE ANNIE'S BIRTHDAY. An original persona- 

tion Farce, by W. E. Suter. Two male and four female characters. A 
good farce, whose effectiveness depends upon a singing young lady, who 
could make the piece a sure success. Costumes modern. Scene, an apart- 
ment in an Englisli country house. Time in representation, twenty-five 
minutes. 

49 THE MIDNIGHT WATCH. A Brr-na in ono act, by 

J. Maddison Morton. Eight male and two female characters. A successful 
little play. Costumes of the time of the French Revolution of l?Jo. Scene, 
the platform of a fortress. Tinre in representation, one liour. 

50 THE PORTER'S KNOT. A serio-comic Drama itx two 

acts, by John Oxenford. Eight male and two female characters. Interest- 
ing and thoroughly dramatic. Costumes of the day. Scenes, an interior of 
cottage and exterior of seaside hOtel. Time in representation, one hour and 
a quarter. 

51 A MODEL OF A WIFE. A Farce in one act, by Alfred 

Wigan. Thre- male and two female characters. Most amusing in coucop- 
tion and admirably carried out. Costumes of the day. Scene, a painter's 
studio. Time in representation, thirty-five minutes. 

52 A CUP OF TEA. A Comedietta in one act. Translated 

from the French of Z^'iie Tasse de Tht\ by Charles Nuttier and J. Dcrley. 
Tliree male and one female characters. An exquisite petty comedy, well 
adapted for amateur representation. Costumes modern. Scene, handsome 
drawing room. Time in representation, thirty minutes. 



DE WITT'S ACTING PLAYS. 



53 GERTRUDE'S MONEY BOX. A Farce in one act, hy 

Harry Lemon. Four male and two female characters. A successful, well 
written piece ; an incident in rural life. Costumes of the present time. 
Scene, interior of a cottage. Time in representation, forty-five minutes. 

54 THE YOUNG COIiLEGIAN (The Cantal>). A Farce in 

one act, by T. W. Robertson. Three male and two female characters. A 
rattling piece, filled with ludicrous situations, which could be splendidly 
workea up by a good light comedian. Costumes modern; and scene, a 
handsome interior. Time in representation, fifty minutes. 

55 CATHARINE HOWARB ; or, the Throne, the Tomb 

and the Scaffold. An historical play in three acts [from the celebrated 
play of that name, by Alexander Dumas] ; adapted by W. D. Suter. Twelve 
male and five female characters. A most suecessful acting drama in both 
France and England. Costumes of the period of Henry "V III of England, 
artistic and rich. Scenery elaborate and historical. Time in representa- 
tion, two hours and a half. 

56 TWO GAY BECEIVERS ; or, Black, White and Gray, 

A Farce in one act by T. W. Robertson. Three male characters. Adapted 
from the French of one of the most laughable vaudevilles on the Parisian 
stage. Costumes of present day. Scene, a cell in a police station. Time in 
representation, forty minutes. 

57 NOEMIE. A Brama in two acts, translated and adapt- 

ed from the French of Dcnnery and Clement by T. W. Robertson. Four 
male and four female characters. Originally acted in Paris, this piece created 
such a sensation that it was produced subsequently at all the leading theatres 
of London. Costumes modern. Scenery, a garden scene and a richly 
furnished interior. Time in representation, one hour and a half. Easily 
put on the stage. 

58 DEHORAH (LEAH); or, the Jewish Maiden's Wronf^. 

AJ)rama in three acts, by Charles Smith c:heltnam. Seven male and six 
female characters. A str.mgely etrective acting play. Costumes pictur- 
esque yet simple. Scenery elaborate and cund)ersome lo handle. Time in 
representation, two hours and fifteen miruites. Elegant extracts can be 
taken from this drama. 

59 THE POST BOY. An original Drama in two act:', Iby 

IL T. Craven. Five male and three female characters. Very successful. 
Costumes modern. Scenery, two interiors. Time of playing, an hour and 
a half. 

60 THE HIDDEN HAND; or, the Gray I^ady of Perth 

Vcnnon. A Drama in four acts, by 'J^om Taylor. Plve male and five female 
characters. Costumes of the period of James II of England. Scenery 
somewhat elaborate. Time in representation, tw ' hours and a half, 

61 PliOT AND PASSION. A Brama in three acts [from 

the French], by Tom Taylor. Seven male and two female characters. A 
neat and well constructed play, admirably adapted to amateur representation. 
Costumes of the period^ of the First Empire, rich and attractive. Scenes, an 
interior in a French mansion, and one in a country villa. Time in represen- 
tation, one hour and a half. 

62 A PHOTOGRAPHIC FIX. A Farce in one act, hy 

Frederick Hay. Three male and t\to female characters. A brilliant, witty 
production. Costumes of the day. Scene, a photographic room. Time in 
representation, thirty-five minutes. 

63 MARRIAGE AT ANY PRICE. A Farce in one act, "by 

J. P. Wooler. Five male and three female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a garden. 
Time in representation, thirty minutes. 

64 A HOU5^EHOI.B FAIRY. A domestic Sketch in one act, 

by Francis Talf on rd. Cue male and one female character. A gem in its line; 
artistic, dramatic and very natural. Modern costumes, and scene a poorly 
furnished apartment. Time in playing, twenty-five nunutes. 



DE WITT'S ACTING PLAYS. 



No. 

65 CHECKMATE. A Comedy in two acts, hy Andrew Hal- 

lidiiy. Six male and live female characters. Costumes, English, of the pres- 
ent "day. Scenes, interior of a country hotel, and exterior of banie, with 
landscape. Time in rei)resentation, one hour and a half. 

66 THE ORANGE GIRL. A Drama in a prologue and 

three acts, by Harry Leslie and Nicholas liowe. Eighteen male and four 
female characters. Costnmes of the present day ; this piece requires con- 
siderable scenei-y, and some of an especial nature. Time in representation, 
two hours and a quarter 

67 THE BIRTHPLACE OF PODGERS. A Parce in one 

act, by John Holiingshead. Seven male and three female characters. A 
capital actin<; extravaganza, introducing a number of eccentric personages. 
Costumes of the present time. Scene, a workingmau's room. Time in repre- 
Bentation, forty minutes. 

68 THE CHEVALIER DE ST. GEORGE. A Drama in 

three acts, adapted from the French of MM. Velesville and Roger de Beauvoir, 
by 'J'. W. liobertson. Nine male and three female characters. A very popu- 
lar and favorite play. Costumes, very rich, in velvet, court and hunting 
dresses, breeches, stockings, &c. Scenery, a tavern and garden, an interior, 
style Louis Seize, and a plainer interior. Time in representation, one hour 
and a half. 

69 CAUGHT BY THE CUFF. A Farce in one act, hy 

Frederick Hay. Four male and one female characters. An exquisitely 
ludicrous production, crammed with situaticKis. Costumes of the day. 
Scene, a kitchen. Time in representation, forty minutes. 

70 THE BONNIE FISHIVIFE. A Farce in one act, by 

Charles Selby, Comedian. Three male and one female characters. Avery 
sprightly piece, in which the lady is required to sing, and to be capable of 
assuming the Scottish dialect. The costumes, although modern, involve 
eccentric Scottish and deer stalking dresses. Scenes, a'handsome chamber 
and interior of Highland cottage. Time of playing, forty-tive minutes. 

71 DOING FOR THE BEST. A domestic Drama in two 

acts, by M. Eophino Lacy. Five male and three female characters. An 
effective acting piece, popular in London. Costumes of the day. Two scenes, 
one interior of cottage, the other a drawing room. Time in representation, 
one hour and a half. 

72 A LAME EXCUSE. A Farce in one act, by Frederick 

Hay. Four male and two female characters. Costumes of the day. Scene, 
a handsome interior. Time in represention, thirty-five minutes. 

73 A GOLDEN FETTER (FETTERED)o A Drama in three 

acts, by Watts Phillips. Eleven male and four female characters. Costumes 
of the present time. Scenery extensive and peculiar to the piece. Time in 
representation, one hour and a half. 

74 THE GARRICK FEVER. A Farce in one act, by J. R. 

Planche. Seven male and four female characters. Costumes of the year 
1742— court dresses, regimentals, velvet trains, &c. Scenery, a plain interior. 
Time of representation, forty-five minutes. 

75 ADRIENNE ; or, the Secret of a Life. Drama in three 

acts, by Harry Leslie. Seven male and three female characters. A telling 
romantic dratioa. Italian and French costumes, civil and military. Scenery, 
elaborate interiors and landscapes. Time in representation, one hour and 
forty-five minutes. 

76 THE CHOPS OF THE CHANNEL. An original Nauti- 

cal Farce in one act, by Frederick Hay. Three male nnd two female 
characters. A very mirth exciting and whimsical composition. Costumes 
of the present day. Scene, the saloon of a steamer. Time in representation, 
forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

77 THE ROIiIi OF THE DRUM* A romantic Drama in 

three acts, by Thomas Ecfcrton Wilks. Eight male and four female charac- 
ters. A standard piece with the British theatres. Costumes of the peiiod of 
the first French revolution. Scenery, interior of a farm house, a picturesque 
landscape and a drawing room. Time in representation, one hour and forty- 
five minutes. 

78 SPECIAL PERFORMANCES. A Farce in one act, by 

Wilmot Harrison. Seven male and three lemale characters. A most ludi- 
crous, ingenious and sprightly production. Dresses of the present day. 
Scene, a chamber. Time in performance, forty minutes. 

79 A SHEEP iH "WOLF'S CLOTHING. A domestic Drama 

in one act, freely adapted from Madame de Girardin's " Une Femme qui 
deteste Hon Mari,''' by Tom Taylor. Seven male and five female characters. 
A neat and pleasing domestic play, founded upon incidents following .Mon- 
mouth's rebellion. Costumes of the time of James II of England. Scene, a 
tapestried chamber. Time of playing, one hour. 

80 A CHARMING PAIR. A Farce in one act, by Thomas 

J. Williams. Four male and three female characters. Costumes of the pre- 
sent day. Scene, a handsomely furnislied apartment. Time in representa- 
tion, forty minutes. 

81 VANDYKE BROW^N, A Farce in one act, by Adolphns 

Charles Troughton. Three male and three female characters. Popular 
wherever ])erformed. Costumes of the present day. Scene, a chamber, 
backed by a window. Time of representation, one hour. 

82 PEEP O' DAY; or, Savonrneen Dheelisb. An Irish 

romantic Drama in four acts (derived froni '' Tales of the O'llara Family"), 
by Edmund Falconer. The New " Drury Lane " version. Twelve male and 
four female characters. Costumes, Irish, m the year 1798. Scenery, illustra- 
tive of Munster. Time in representation, three hours. 

83 THRICE MARRIED. A personation piece in one act, 

by Howaid Paul. Six nude and one female characters. The lady sings, 
dances and assumes personification of a French vocalist, of a Spanish dancer 
and of a man of fashion. Costumes of the day. Scene, airoom in a lodging 
house. Time in representation, three quarters of an hour. 

8i }T GUILTY. A Drama in fowr .acts, by Watts Phillips, 
un male and six female characters. A thrilling drama faund upon a fact. 
Costumes of the present day. Scenery illustrative ol localities about 
Southampton and its harbor, and of others in India. Time in representa- 
tion, three hours. 

85 LOCKED IN "WITH A LADY. A Sketch from Life, 

by II. 11. Addison. One male and one female character. A very pleas- 
iniiand humorous interlude. Costume of the day, and scene a bachelor's 
apartmeut. Time in representation, thirty-five minutes. 

86 THE LADY OF LYONS; or, Love and Pride. A Play in 

five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Twelve male five 
female characters. Four of the male characters are very good ones ; and 
Pauline, Madame De-^chapelles and the Widow Melnotte are each excellent 
in their line. The piece abounds in eloquent declamation and sparklinp- 
dialogue. This edition is the most complete in all respects ever issued. It 
occupies three hours in representation. The scenery, gardens and interior 
of cottage and mansion. Costumes French, of 1795. 

87 LOCKED OUT. A Comic Scene, illustrative of what may 

occur after dark in a great metropolis ; by Howard Paul. One male and two 
female characters, with others unimportant. Scene, a street ; dress, mod- 
ern. Time in playing, thirty minutes. 

88 FOUNDED ON FACTS. A Farce in one act, by J. P. 

Wooler. Four male and two female characters. A favorite acting piece, 
easily put on the stage and never failing in success. Costumes of the pres- 
ent day. Scene, a hotel parlor. Time in representation, thirty-five minutes. 



DE WITT'S ACTING PLAYS. 



89 AUNT CHARLOTTE'S MAID. A Tarce in one act, ly 

J. Maddisou Morton, 'riuoc male and tlirec luniale clmractcrs. One of the 
best of this prolilic humori.st's dramatic pieces. Dresses of the jieriod. and 
ecenc an apartment in a dwelling house. Time in representation, forty 
minutes. 

90 ONL-lf A HALFPENNY, A Farco in one act, -by JoKn 

Oxcnford. Two male and two female characters. Dresses of the present 
day, and scene an elegantly furnishetl interior. Time in representation, 
thirty-live minutes. 

91 WALPOLE ; oi*, Every Man has his Price. A Comedy in 

rhyme, by Lord Lytton. Seven male and two female characters. Costumes 
of'tho period of (Jeorge I of England. Scenery illnstralive of London locali- 
ties, and residences of the same era. Time of playing, one hour and ten 
minutes. 

92 MY WIFE'S OUT. A Farce in ono act, by G. Herbert 

Rodwcll. Two male and two female chai-actcrs. Thi.s piece had a suc- 
cessful run at the *. ovent Garden Theatre, London. Costume modern, and 
scene an artist's studio. Time in reprcseniation, forty minutes. 

93 THE AREA BELLE. A Fareo in one act, l>y William 

Brough and Ai drew llnlliday. Three male and two female characters. 
Costumes of the present timej! and scene a kitchen. Time in performing, 
tliircy minutes. 

94 OUR CLERKS ; or, No. 3, Fig Tree Court, Temple. An 

original Farce, in one act. Seven male and live female characters. Costnmes 
modern, and scene a large sitting room solidly furnished. Time in represen- 
tation, sixty-five minutes. 

95 THE PRETTY HOUSE BREAKER. A Farce, hy Wil- 

liam Brougt^and Andrew ilalliday. Three male and ten female characters. 
Costumeslnodern J^^nglish, and scene a breakfast room in a fashionble man- 
sion. Time of playing, forty-tive minutes. 

96 DEAREST MAMMA. A Comedietta in osie act, "by Wal- 

ter Gordon. Four male and three female characters. Costume modern 
English, and scene a drawing room. Time in representation, one hour. 

97 ORANGE BLOSSOMS. A Comedietta in ons act, "by J, 

P. Wooler. Three male and tliree female characters. Costume of the 
present day, and scene, a garden with summer house. Time in playing, 
fifty miuiiies. 

98 W^KO IS WHO ? or, All in a Fog. A Farce, aelapted 

from the French, by Thomas J. Williams. Three male and tvso female char- 
acters. Costumes, modern English dresses, as worn by country gentry ; and 
scene, parlor, in an old fashioned country house. Time of playing, thirty 
minutes. 

9.9 THE FIFTH WHEEL. A Coznedy in three acts. Ten 

male and two female characters. An excellent American production, easily 
managed. Costumes of the modern day. Scenery not complicated. Time 
of representation, about one hour and three quarters. 

100 JACK LONG, A Drama :'n two acts, "by J. B, John- 

stone. Nine male and two female characters. Costume of the frontiers. 
Scenery illustrative of localities on the Texan frontier. Time of perform- 
ance, one hour and twenty minutes. 

101 FERNANDE ; or, Foz'give and Forr.-®' . A Drama in three 

acts, by Victorien Sardou. Eleven male and ten female characters. This 
is a correct version of the celebraled play as performed in Paris and adapt- 
ed to the Ei.glish stage, by Henry L. Williams. Jr. Costumes, modern 
French. Scenery, four interiors. Time In representation, three hours. 

102 FOILED ; or, a Struf^sls ^or Life anil Liher y. A Drama 

in four acts, by O. W. Cornish. 9 males, 3 females. Costumes, mcdern 
American. Scenery— a variety of scones nquireil, but none elaborate. 
Time in representation, three and a half ho'irs. . 



DE WITT'S ACTING PLAYS. 



N.). 

103 TAUST AND MARGUERITE. A romantic Drama in 

three acts, translated from the French of Michel Carre, by Thomas 
William Robertson. Nine male and seven female characters. Costumes 
German, of the sixteenth century ; doublets, trunks, tights. Scenery, a 
laboratory, tavern, garden, street and tableau. Time in representation, 
two hours. 

104 NO NAME. A Dra?^a in five acts, hy "Wilkie Collins. 

Seven male and five female characters. A dramatization of the author's 
popular novel of the same name. Costumes of the present day. Scenery, 
four interiors and a sea view. Time in representation, three hours. 

105 WHICH or THE TWO. A Comeiliotta in one act, Tjy 

John M. Morton. Two male and ten female characters. A very neat and 
interesting peity come ly. Costume Russian. Scene, public room of an 
Inn. Time of playing, fifty minutes. 

106 UP rOR THE CATTLE SHOW. A Farce in one act, 

by Harry Lemon. Six male and two female characters. Costumes Eng- 
lish, of the present day. Scene, a parlor. Time in representation, forty 
minutes. 

107 CUPBOARD LOVE. A Farce in one act, by Frederick 

Hay. Two male and one female characters. A good specimen of broad 
comedy. Dresses modern, and scene, a neatly furnished apartment. 
Time in representation, twenty minutes. 

108 MR. SOROGGINS; or, Clianrro o? Name. A F^rce in 

one act, by William Hancock. Three mule and tiiree fema'e characters. 
A lively piece. Costumes of the itiesent day. Scene, a drawing room. 
Time in representation, forty minutes. 

109 liOCKEB IN. A Comedietta in one act, hy J. P. W^ool- 

er. Two male and two female characters. Costumes of ];he period. Scen*^, 
a drawing room. Time in representation, thirty minutes. 

110 POPPLETON'3 PREDICAMENTS. A Farce in one 

act, by Charles M. Rae. Three male and six female characters. Costumes 
of the day. Scene, a drawing room. Time in representation, forty min- 
utes. 

111 THE UIAR. A Cam^dy in two acts, Tjy Samnel Foote. 

Seven male and two female cliaracters. One of the best acting plays in 
any language. Costumes, embroidered court dresses, silk sacques, &c ; 
still theniodern dress will snflice. Scenes— one, a park, the other a draw- 
ing room. Time in representation, one hour and twenty minutes. This 
edition, as altered by Charles Mathews, is particularly adapted for amateurs. 

112 NOT A BIT JEALOUS. A Farce in one act, "by T- W. 

Robe;tson. Three male and three female characters. Costumes of the 
day. Scene, a room. Time of playing, forty minutes. 

113 CYRIL'S SUCCESS. A Comody in five acts, "by Henry 

,J. Byron. Ten male and four fe-nale characters. Costumes modern. 
•Scenery, four interiors. Time in representation, three hours twenty 
•niinutes. 

114 ANYTHING FOR A CHANGE. A petite Comedy in 

one act, by Shirley Brooks. Three male and three female characters. 
Costumes present day. Scene, an interior. Time in representation, fifty- 
one minutes, 

115 NSW MEN AND OLD ACRES, A Comedy in three 

acts by Tom Taylor, Eight male and five female characters. Costumes 
present day. Scenery somewhat complicated. Time in representation, 
two hours, 

116 I'M NOT MESILF AT ALL. An oris^inal Irish Stew 

in one act. by C. A. Maltby. Three male and two female characters. Cos- 
tume of present day, undress uniform, Irish peasant and Highland dress. 
?!>fte?)e, a room. Time iu playing twenty-eight minutes. 



DE WITT'S ACTING PLAYS. 



No. 

117 NOT SUCH A FOOL AS HE LOOKS. A farcical 

Drama in three acts, by Henry J. Byron. Five male and four female char- 
acters. ExcelleTit for amateur.s. Costumes of the day. Sceuerv, three 
interiors. Time in representation, two hours. 

118 IVANTED, A YOUNG LADY. A Farce in one act, hy 

\V. E Suter. Three male characters. Effective for amateurs. Costumes 
of the day. Scene, a room. Time in playini;, forty minutes. 

119 A LIFE CHASE. A Drama in five acts, "by Adolph 

Belot ; translated by John Oxenford and Horace Wigan. Fourteen male 
and five female characters. Costumes modern Frencli. Scenery elaborate. 
Time in representation, two hours and twenty minutes. 

120 A TEMPEST IN A TEAPOT. Petite Comedv in one 

act. Two male and one female characters. Admirably adapted for private 
performance. Costumes of the day. Scene, an interior. Time of repre- 
sentation, thirty-five minutes. 

121 A COMICAL COUNTESS. A Farce in one act, by "Wil- 

liam Brough. Three male and one female cliaracters. Costumes French, 
of last century. Scene, a drawing room. Time in representation, forty 
minutes. 

122 ISABELLA ORSINI. A romantic Drama in fonr acts, 

by S. H. Mosenthal, Eleven male and four female characters. Costumes 
Italian, three hundred years ago. Scenery complicated. Time in repre- 
sentation, three and a half hours. 

123 THE TWO POLTS. A Farce in one act, by John 

Courtney. Four male and four female characters. Costumes modern. 
Scenery, a street and two interiors. Time in representation, forty-five 
minutes. 

124 THE VOLUNTEER REVIEW ; or, The Little Man in 

Green. A Farce in one act, by Thomas J. Williams. Six male and six 
female characters. Easily localized, as the " Home Guard," or "Militia 
Muster.'" Costumes of the day ; and scene, a room. Time in represeuca- 
tion, forty-five minutes. 

125 DEERFOOT. A Farce in one act, hy T. C. Burnand. 

Five male and one female characters. Costumes of the day; and scene, a 
public house. Time in playing, thirty -five minutes. 

126 TWICE KILLED. A Farce in one act, hy John Ox- 

enford. Six male and three female characters. Costumes modern ; scene, 
landscape and a drawing room. Time in playing, forty-five minutes. 

121 PEGGY GREEN. A Farce in one act, hy Charles Selhy. 

Three male and ten female characters. Costumes of the present day. 
Scene, a country road. Time in representation, forty-five minutes. 

128 THE FEMALE DETECTIVE; or. The Mother's Dying 

Child. A Drama in three acts, by C. H. Hazlewood. Eleven male and 
four female characters. Costumes of fifty years since. Scenery very 
elaborate. Time of playing two hours. 

129 IN FOR A HOLIDAY. A Farce in one act, hy F. C. 

Burnand. Two male and three female characters. Costumes of the period, 
and scene an -interior. Time in performance, thirty-five minutes. 

130 MY W^IFE'S DIARY. A Farce in one act. From the 

French of MM. Dennery and Clairville, by T. W. Kobertson. Three male 
and one female characters. Costumes modern French, and scene a drawing 
room. Time in repre.-entation, fifty minutes. 

131 GO TO PUTNEY. A Farce in one act, hy Harry 

Lemon. Four male and three female characters. Excellent for amateurs. 
Costumes of the day ; scene, a drav^ang room. Time in representation, 
forty -five minutes. ^^ 

9-1 



DE WITT'S ACTING PLAYS. 



132 A RACE FOR A DINNER. A Farce in one act, l>y 

J. F. G. Rodwell. Teu male characters. A sterling piece. Costumes of 
the day. Scene, a tavern exterior. Time in representation, sixty minutes. 

133 TIMOTHY TO THE RESCUE. A Farce in one act, 

by Henry J. Byron. F'our male and two female characters. In this 
laughable piece Spangle assumes several personifications. Costumes of 
the day, and scene a plain interior. Time in representation, forty -five 

minutes. 

134 TOMPKINS, THE TROUBADOUR. A Farce in one 

act, by MM. Lockroy and Marc Michel. Three male and two female char- 
acters. Costumes modern, and scene an ironmonger's shop. Time in play- 
ing, thirty-five minutes. 

135 EVERYBODY'S FRIEND. A Comedy in three acts, 

by J. Sterling Coyne. Six male and five female characters. Costumes 
modern, and scenery three interiors. Time in performance, two and a 
half hours. 

136 THE ^VOMAN IN RED. A Drama in tliree acts and 

Prologue, by J. Sterling Coyne. Six male and eight female characters. 
Costumes French and Italian. Scenerj' complicated. Time of playing, 
three hours and twenty-five minutes. 

137 L' ARTICLE 47; or Breaking; tli© Ban. A Drama in 

three acts, by Adolph Belot, adapted to the English stage by Henry L. 
Williams. Eleven male and five female characters. Costumes French, 
of the day. Scenery elaborate. Time in representation, three houre and 
ten minutes. 

138 POLL AND PARTNER JOE : or. The Pride of Put- 

ney and the Pressing Pirate. A Burlesque in one act and four scenes, by 
F. C. Burnand. Ten male and three female characters. (Many of the male 
characters are performed by ladies.) Costumes modern, and scenery local. 
Time of playing, one hour. 

139 JOY IS DANGEROUS. A Comedy in two acts, hy 

James Mortimer. Three male and throe female characters. Costume, 
modern French. Scenery, two interiors. Time in representation, one 
hour and forty-five minutes. 

140 NEVER RECKON YOUR CHICKENS, &c. A Farce 

in one act, by Wybert Reeve. Three male and four female characters. 
Modern costumes, and scene, an interior. Time in representation, forty 

minutes. 

141 THE BELLS ; or, the Polish Jew. A romantic moral 

Drama in three acts, by MM. Erckmann and Chatrain. Nine male and three 
female characters. Costumes Alsatian, of present date. Scenery, two 
interiors and a court room. Time of playing, two hours and twenty min- 
utes. 

142 DOLLARS AND CENTS. An original American Com- 

edy in three acts, by L. J. HoUenius, as performed by the Murray Hill 
Dramatic Association. Nine male and four female characters. Costumes 
modern, and scenery, three interiors and one garden. Time iu represen- 
tation, two and three quarter hours. 

143 LODGERS AND DODGERS. A Farce in one act, hy 

Frederick Hay. Four male and two female characters. Costumes of 
the present time. Scene, a furnished apartment. Time in representation, 
twenty-five minutes. One character a Yorkshire farmer. 

144 THE LANCASHIRE LASS ; or, Tempted, Tried and 

True. A domestic Melodrama in four acts and a Prologue, by Henry J. 
Byron. Twelve male and three female characters. Costumes of the pres- 
ent day. Scenery, varied and difficult. Time in representation, three 
hours. 



DE WITT'S ACTING PLAYS. 



No. 

145 riRST LOVE. A Comedy in one act, "by Eugene Scribe. 

Adapted to the American stage by L. J. Ilollenius. Four male and one 
female characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time in playing, forty-five minutes. 

146 THERE'S NO SMOKE WITHOUT FIRE. A Come- 

dietta in one act, by Tliomas Picton. One nwile and two female cliarac- 
ters. Costumes of the present day, and scene, an ajjartnient. Time in 
representation, forty minutes. 

147 THE OVERLAND ROUTE, A Comedy in three acts, 

by Tom Taylor. Eleven male and five fenjale characters. Costumes East 
Indian (European). Scenery, steamship saloon and deck, and coral reef. 
Time in representation, two'hours and forty minutes. 

148 CUT OFF IVITH A SHILLING. A Comedietta in 

one act, by S. Theyre Smith. Two male and one female characters. Scene, 
a drawing room. "Time in playing, twenty-five minutes. 

149 CLOUDS. An American Comedy in four acts, Ijy Fred. 

Marsden (W. A. Sliver). Eight male and seven female characters. Cos- 
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time 
in representation, three hours. 

150 A TELL-TALE HEART. A Comedietta in one act, "by 

Thomas Picton. One male and two female characters. Excellent for 
private representation. Costumes of the day. Scene, a villa room. Time 
in representation, forty minutes. 

151 A HARD CASE. A Farce in one act, Tby Thomas 

Picton.. Two male characters. A most ludicrous piece for two performers. 
Costunies of the day. Scene, an interior. Time in playing, thirty-five 
minutes. 

152 CUPID'S EYE-GLASS. A Comedy in ono act, by 

Thomas Picton. One male and one female cliaracters. Adapted for ama- 
teur performance. Costumes of the day, and scene, a drawing room. 
Time in representation, twenty-five minutes. 

153 'TIS BETTER TO LIVE THAN TO DIE. A Farce 

in one act, by Thomas Picton. Two male and one female characters. Can 
be played readily and effectively by amateurs. Costumes modern, and 
scene, an ariist's studio. Time in representation, forty minutes. 

154 MARIA AND MAGDALEN A. A Play in four acts, by 

L. J. HoUenius. Eight male, six female characters. An uniformly f^ood 
stock company is alone needed to properly produce this charming piece. 
Costumes modern. Scenery, fine interiors and beautiful gardens. Time 
in representation, three hours. 

155 OUR HEROES. A Military Play in five acts, eight 

allegorical tableaux, and ten grand pictures, including a grand transfor- 
mation tableau, by John B. Kenauld. Twenty-four male and five 
female characters. Large parties ^f retired volunteers can appear with 
great effect in this play. Costunies modern, civil and military. Scenery, 
interiors of dwellings, encampments and battle-fields. 

156 PEACE AT ANY PRICE. A Farce in one act, by T. 

W. Robertson. One male and one female characters ; but a variety of 
voices are heard throughout the piece, the speakers being invisil)le. A 
capital sketch for two lively amateur comedians. Costume modern. 
Scenery— there is but one scene throughout the piece— a meanly furnished 
apartment. Time in representation, twenty minutes. 

157 QUITE AT HOME. A Comedietta in one act, by Arthur 

Sketchley. Five male and two female characters. A real lively taking 
piece. All the chanicters passable. Costumes modern. Scenery, a shab- 
bily furnished apartment. Time in representation, forty-five minutes. 



DE V/ITT'S ACTING PLAYS. 



No. 

158 SCHOOL. A Comedy in four acts, by T. W. Roliertson. 

Six male and six female characters. la a very superior piece, and has 
three cliaracters unusually good for either sex. Could be played with fine 
effect at a girls' seminary. Costumes modern. Scenery, English land- 
scape and genteel interiors. Time in representation, two hours and forty 
minutes. 

159 IN THE -WRONG HOUSE. A Farce in one act, by 

Martin Becher. Four male aid two female characters. A very justly 
popular piece. Two of the male characters are excellent for light and low 
comedian. Good parts, too, for a young and old lady. Costumes modern. 
Scenery, an ordinary room. Time in representation, twenty-five minutes. 

160 BLOW FOR BLOW. A Drama in a Prologue and 

three acts, by Henry J. Byron. Eleven male and six female characters. 
Full of homely pathos as well as rich humor. Has several excellent parts. 
Costumes modern. Scenery, interiors of offices and dwellings. Time in 
representation, three hours. 

161 W^OMAN'S VOW^S AND MASONS' OATHS. In four 

acts, by A. J. H. Duganne. Ten male and four female characters. Has 
effective situations, "tine characters and beautiful dialogues. Costumes 
modern, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time in performance, two 
hours and thirty minutes. 

162 UNCLE'S WILL. A Comedietta in one act, by S. 

'i heyre Smith. Two male and one female characters. A brilliant piece ; 
can be easily played in a parlor. Costumes modern, and naval uniform 
for Charles. ' Scenery, set interior drawing room. Time in representation, 
thirty minutes. 

163 MARCO RETTI. A romantic Drama in three acts, by 

John M. Kingdom. Ten male and three female cliaracters. A thrillingly 
effective piece, full of strong scenes. Costumes, brigands and rich Italian's 
dress. Scenery, interior of castle, mountain passca, and princely ball 
room. Time in representation, two hours. 

164 LITTLE RUBY ; or, Home Jewels. A domestic Drama 

in three acts, by J. J. Wallace. Six male and six female characters. 
This drama is at once affecting and effective. Little Ruby fine per- 
sonation for young prodigy. Costumes modern. Scenery, interior of 
dwelling aud gardens. Time in representation, two hours. 

165 THE LIVING STATUE. A Farce in one act, by Joseph 

J. Dilley and James Allen. Three male and two female characters. Brim- 
ful of fun. Trotter a great character for a droll low comedian. Costumes 
modern, with one old Roman warrior dress. Scenery, a plain interior. 

166 BARBELL vs. PICKW^ICK. A Farcical sketch in 

one act, arranged from Charles Dickens. Six male and two female cha- 
racters. Uncommonly funny. Affords good chance to ' take off " local 
legal celebrities. Costnmes modern. Scenery, a court room. Time in 
performance, thirty minutes. 

161 APPLE BLOSSOMS. A Comedy in three acts, by James 

Albery. Seven male and three female characters. A pleasing i)iece, 
with rich part for an eccentric comedian. Costumes modern English. 
Scenery, exterior and interior of iun. Time in representation, two hours 
and twenty minutes. 

168 TW^EEDIE'S RIGHTS. A Comedy in two acts, by 

James Albery. Four male and two female characters. Has several ex- 
cellent characters. John Tweedie, powerful personation ; Tim Whifflcr 
very funny. Costumes modern. Scenery, a stone mason's yard and 
modest interior. Time in representatitm, one hour and twenty-five 
minutes. 



DE WITT'S ACTING PLAYS. 



No. 

169 MY UNCLE'S SUIT. A Farce in oao act, by Martin 

Bcclier. Four male ami one female diameters, lias a jullv ^mxi low 
comedy part, a line lii<ht eoinedy one, ami a brisk, pert hidv's maid. 
Costumes modern. Scenery, a well furni.-ilied sitting room, Tiine in rep- 
resentation, thirty minutes. 

170 ONLY SOMEBOBY; or. Dreadfully Alarming. A 

Farce in one act, by Conway Edwardes and Edward Cullcrne. Four 
male and two female characters. Immcnselv funny. Full of queer 
incidents. Every way fitted for amateurs:. Costumes inodern. Scenery, 
a garden and baclc of alioiise. Time of playing, thirty minutes. 

71 NOTHING LIKE PASTE, A Farce in one act, by Chas. 

Marsham llae. Three male and one femiile characters. Every character 
snperexccllent. Billy l)oo a regular Burlonian part. Admirable piece 
for amateurs. Costumes modern. Scenery, exterior of a Bmall villa, with 
gardens. Time in representation, forty minutes, 

172 OURS. A Comeiy in thr^e actis, by T. W. Robertson. 

Six male and three fennle characters. One of I he best and most admired 
plays in our lan<iua,<ie— while a fair stock company can play it accept;ibly. 
It has several characters lit for stars. Costumes modern, with British 
military uniforms. Scenery, gaidens, park, drawing room, and rude hut 
in the Crimea. Time of representation, two hours and thirty minutes, 

173 OFF THE STAG^. An entirely original Comedietta 

in one act, by Sydney Rosenfeld, Three male and three female characters, 
all equally exceilcnt. One of the sprightliest, wittiest and most amusinir 
little plays ever w-ritten, causing almost an hour's constant merriment. 
Costumes modern. Scene a handsome interior, 

174 HOME, A Comedy in three acts, by T, "W. Rol^ertson. 

Four male, three female characters, A charming piece. Needs but a 
small company. Every character very good. Costumes modern. Only one 
scene throughout the play. Time of representation, two hours. 

175 CAST UPON THE WORLD, An entirely Orijr'nal 

Drama in five acts, by Charles E. Newton. Ten male, five female charac- 
ters. A remarkabl}' effective piece. Costumes modern. Scenia-y some- 
what elaborate, but very fine. Time of representation, two hours and 
thirty minutes. 

176 ON BREAD AND ^WATER. A Musical Farce in one 

act, being a free adaptation from the German, by Sydney Rosenfeld. A 
roilicking little i)iece. One male and two female characters. Contain n:: a 
brilliant soiibr(>tte part. Costumes modern. Scene an uncarpeted school 
room. Time in representation, twenty-five minutes. 

177 I SHALL INVITE THE MAJOR, A Parlor Comedy 

in one act, by G. von Moser. Containing five characters, four male and 
one emale. A very pleasing little play, with good parts for all. Very 
bright and witty. Costumes modern. Scene, a handsome interior. Time 
in representation, forty minutes. 

178 OUT AT SEA. An entirely Original Roma:itic Drama 

ill a prologue and fotir acts, by Charles E. Newton. Sixteen male, five 
female characters. Powerfully written. Full of strong situations. Very 
telling scenic effects. Costumes inodern, Time in representation, two 
hours and ten minutes. 

179 A BREACH OF PROMISE. An extravagant Comic 

Drama in two acts, by T. W. Robertson. Five male, two female charac- 
ters. A capital, very merry piece. G"od for amateurs. Time in repre- 
sentation, one hour. Scenery, two interiors. Costume, modern. 

180 HENRY THE FIFTH. An Historical Play in five act^. 

By William Shakspeare. Thirty-eight male, five female characters. This 
grand play has a rare blending of the loftiest tnigodv, with the richest and 
broadest humor. This edition is the most complete in cverv respect ever 
])ublished. Costumes rich and expensive. Scenery, etc., very elaborate. 
Time of representation, three hours. 




" Let those laugh now who never laughed before ; 
And those who always laughed now laugh the more." 

Nothing SO thorough and complete in the zuay of Ethiopian 
and Comic Dramas has ever been printed as those that appear 
in the following list. Not only arc the plots excellent, the char- 
acters droll, the incidents funny, the language humorous, hut 
nil the situations, by -play, positions, pantomimic business, 
scenery and tricks are so plainly set dozun and clearly explained, 
that the merest novice could put any of them on the Stage. In- 
cluded in this Catalogue are all the most laughable and effective 
pieces of their class ever produced. 

*^* In ordering, please copy the figures ut the commencement of each 
Play, wliich indicate the number of the piece in " Dk Witt's Ethiopian 
AND Comic Drama." 

(H^" Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 

Address as on first page of this Catalogue. 



HE wm's ETHiopmir m comic nmL 



1 THE LAST OF THE MOHICANS. An Ethiopian Sketch, 

by J. C. Stewart. 'I'hice male and one female characters. Costumes of 
the day, except Indian shirts, &.c. Two scenes, chamber and wood. Time 
in representation, eighteen minutes. 

2 TRICKS. An-Etliiopian Sketcli, ty J. C. Stewart. Fiv© 

male and two female characters. Costumes of the i)eriod. Two scenes, 
two interiors. Time in representation, eighteen minutes. 

3 HEMMEB INc An Ethiopian SlieteL., "fey J. C. Stewart. 

Three male and one female characters. Costumes modern, and scene, a 
.studio. Time in representation, twenty minutes. 

4 EH ? ISTHAT IS IT ? An Ethiopian Sketch, by J. C. Stewart. 

Four male and one female characters. Costumes of the day, and scene, a 
chamber. Time in representation, twenty minutes. 

5 TWO BLACK ROSES. An Ethiopian Sketch, by J. C. 

Stewart. Four male and one female characters. Costumes modern, and 
scene, an apartment. Time in representation, twenty minutes. 



DE WITT'S ETHIOPIAN" AND COMIC DRAMA. 

No. 

6 THE BLACK CHAP FROM 'WHITECHAPEL. An 

occeiitric Nolmo Piece, adnpted from Burnund and \Villi:mis' " B. V> " by 
Henry L. Williainy, Jr. Four male ehiiracteri?. Costumes modern. Scene, 
an intcru)r. Time in represeuiaiion, thirty minutes. 

7 THE STUPID SERVANT. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Characters very drol! ; 
fit for star "darky" players. Costumes modern and fantaPtic dresses. 
Scenery, an ordinary room. 'J ime in representation, twenty minutes. 

8 THE MUTTON TRIAL. An Ethiopian SI etch in two 

scenes, by James Malht. Four male characters. Capital burlesque of 
courts of "justice;" all the parts jjood. Costumes modern and Quaker. 
Scenery, a wood view and ii court room. Time in representation, twenty 
minutes. 

9 THE POLICY PLAYERS. An Ebhiopian Sketch in one 

scene, by Charles White. Seven male characters. A very clever satire upon 
a sad vice. Costumes modern, and coarse negro i-agged clothes. Scenery, 
an ordinary kitchen. Time in representation, twenty minutes. 

10 THE BLACK CHEMIST. An Ethiopian Sketch in one 

scene, by Charles Wh te. Three male characters. All the characters are 
A 1, funny in th^ extreme. Costumes Miodern or Yankee— extravagant. 
Scenery, an apothecary's laboratory. Time in representation, seventeen 
minutes. 

11 BLACK-EY'D -WILLIAM. An Ethiopian Sketch in two 

scenes, by Charles White. Four male, one female characters. All tlie 
parts remarkably good. Costumes as extravagant as possible. Scenery, a 
police court room. Time iu representation, twenty minutes. 

12 DAGUERREOTYPES. An Ethiopian Sketch in one 

scene, by Charles White. Three male characters. Full of broad humor; 
all characters excellent. Costumes modern genteel, negro and Yankee 
garbs. Scenery, ordinary room with camera. Time in representation, 
fifteen minutes. 

13 THE STREETS OF NEW YORK; or, New York by 

Gaslight. An Ethiopian Sketch in one scene, by Charles White. Six male 
' characters. Three of the parts very droll ; others good. Costnmes some 
modern, some Yankee and some roaferish. Scenery, street view. Time 
in representation, eighteen minutes. 

14 THE RECRUITING OF.FICE. An Ethiopian Sketch in 

one act, by Charles White. Five male characters A piece full of incidents 
to raise mirth. Three of the patts capital. Costumes extravagant, white 
and darkey, and a comical uniform. Scenery, plain chamber and a street. 
Time in representation, fifteen minutes. 

15 SAM'S COURTSHIP. An Ethiopian Farce in one act, 

by Charles White. Two male and one female characters. Ali the charac- 
ters particularly jolly. Two of the parts can be played in cither white or 
black, and r.ne in Dutch. Costumes Yankee and modern. Scenery, plain 
chamber. Time in representation, twenty minutes. 

16 STORMING THE FORT. A burlesque Ethiopian Sketch 

in one scene, by Charles White. Five male characters. Richly ludicrous ; 
all the characters funny. Costumes fantastical, and extravagant military 
uniforms. Scenery, ludicrous "take off" of fortifications. Time in repre- 
sentation, fifteen minutes. 

17 THE GHOST. An Ethiopian Sketch in one act, by 

Charles White. Two male characters. A right smart piece, f'll of laugh. 
Costumes ordinary " darkey " clothes. Scenery common looking kitchen. 
Time in representation, fifteen minutes. 

18 THE LIVE INDIAN ; or, Jim. Crow. A comical Ethi- 

opian Sketch in four scenes, by Dan Bryant. Four mule, one female 
characters. As full of fun as a "hedgehog is full of bristles. Costumes 
modern and darkey. Scenery, chamber and street. Time in representation, 
twenty minutes. 



DE WITT'S ETHIOPIAN" AND COMIC DRAMA. 

No. 

19 MALICIOUS TRESPASS ; or. Points of Law, An Ethi- 

opian Sketch in one scene, by Charles White. Three male characters. 
Extravagantly comical ; all the parts very good. Co'=;tumes extravagant 
modern' garbs. Scenery, wood or landscape. Time of playing, twenty 
minutes. 

20 GOING FOR THE CUP ; or, Old Mrs. Williams' Dance. 

An Ethiopian Interlude, by Charles White. Four male characters. One 
capital part for a bright juvenile ; the others very droll. Costumes modern 
and darkey. Scenery, a landscape or wood. Time in representation, 
twenty minutes. 

21 SCAMFINI. An anti-trag:ical, comical, maj^icAl and 

lauijhable Pantomime, full of tricks and transformations, in two scenes, 
by Edward Warden. Six male, three female characters. Costumes extra- 
vagantly eccentric. Scenery, plain rustic chamber. Time in )epresenta- 
tion, thirty minutes. 

22 OBEYING ORDERS. An Ethiopian Military Sketeh in 

one scene, by John Arnold. Two male, one female characters. Mary 
Jane, a capital wench part. The piece very jocose. Costumes ludicrous 
military and old style dresses. Scenery either plain or fancy chamber. 
Time of playing, fifteen minutes. 

23 HARD TIMES. A Ne^ro Extravaganza in one scene, 

by Daniel D. Einmett. Five male, one female characters. Needs several 

food players— then there is " music in the air." Costumes burlesque, 
ashionable and low negro dresses. Scenery, a kitchen. Time in represen- 
tation, twenty minutes. 

24 BRUISED AND CURED. A Negro Burlesque Sketch in 

one scene, by A. J. Leavitt. Two male characters. A rich satire upon 
the muscular furore of the day. Costumes tights and guernsey shirts 
and negro dress. Scenery, plain chamber. Time in representation, twenty 
minutes. 

25 THE FELLOW THAT LOOKS LIKE ME. A laughable 

Interlude in one scene, by Oliver Durivarge. Two male characters— one 
female. Boiling over with fun, especially if one can make up like Lester 
Wallack. Costumes genteel modern. Scenery, handsome chamber. Time 
in representation, twenty-five minutes. 

26 RIVAL TENANTS. A Ne»ro S\etch, hy George L. Stout. 

Four male characters. Humorously satirical ; the parts all very funny. 
Co.stumes negro and modern. Scenery, an old kitchen. Time of playing, 
twenty minutes. 

27 ONE HUNDREDTH NIGHT OF HAMLET. A Negro 

Sketch, by Cliarle-; White. Seven male, one female characters. Affords 
excellent chance for imitations of popular "stars." Costumes modern, 
some very shabby. Scenery, plain chamber. Time in representation, 
twenty niinutes 

28 UNCL^ EPH'S DREAM. An Original Negro Sketch in 

two scenes and two tableaux, arranged by Charles White. Three male, 
one. female characters. Avery pathetic little piece, with a sprinkling of 
humor. Costumes, a modern southern dress and negro toggery. Scenery, 
wood, mansion and negro hut. Time in representation, twenty minutes. 

29 WHO DIED FIRST? A Ne^ro Sketch in one Scene, by 

A. J. Leavitt. Three male, one female characters. Jasper and Hannah 
are both very comical per^^onages. Costumes, ordinary street dress and 
common darkey clothes. Scenery, a kitchen. Time in representation, 
twenty minutes. 

30 ONE NIGHT IN A BAR ROOM. A ITurlesque Sketch, 

arranged by Charles White. Seven male characters. Has a funny Dutchman 
and two good darkey characters. Costume, one Dutcii and several mod- 
ern. Scenery, an ordinary interior. Time in representation, twenty min- 

UtGS. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 



31 GLYCERINE OIL. An Ethiopian Sketch, hy John Ar- 

nold. Three nmle characters, all ^ood. Costumes, (iiniker and eccentric 
modern. Scenery, a street and a kitchen. Time in representation, tifloeu 
minutes. 

32 WAKE UP, TVILLIAM HENRY. A Negro Sketcli, ar- 

ran<jed by Charles White. Three male characters, which have been favor- 
ites of our best performers. Costumes modern — some eccentric. Scenery 
plain chamber. Time in representation, ten minutes. 

33 JEALOUS HUSBAND. A Negro Sketch, arranged by 

Charles White. Two male, one female characters. Full of fari ical dia- 
-logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham- 
ber. Time in representation, twenty minutes. 

34 THREE STRINGS TO ONE BOW^. An Ethiopian Sketch 

in one scene, arranged bj^ Charles WLite. Four male, one female charac- 
ters. Full of rough, practical jokes. Costumes, modern. Scenery, a laud- 
scape. Time m representation, fifteen minutes. 

35 COAL HEAVERS' REVENGE. A Negro Sketch in one 

Fcene, by George L. Stout. Six male characters. The two coal heavers 
have " I'oaring" parts. Costumes, modern, Irish and negro comic make 
up. Sccnery,landscape. Time in representation, twenty minutes. 

36 LAUGHING GAS. A Negro Burlesque Sketch in one 

scene, arranged by Charles White. Six male, one female characters. Is a 
favorite with our best companies. Costumes, one modern genteel, the rest 
ordinary negro. Scenery, plain chamber. Time of playing, fifteen min- 
utes. 

37 A LUCKY JOB. A Negro Farce in two scenes, arranged 

by Charles White. Three male, two female characters. A. rattling, lively 
piece. Costumes, modern and eccentric. Scenery, street and fancy cham- 
ber. Time in representation, thirty minutes. 

38 SIAMESE T'WINS. A Negro Burlesque Sketch, in two 

scenes, arranged by Charles White. Five male characters. One of the 
richest in fun of any going. Costumes, Irish, darkey and one wizard's 
dress. Scenery, a street and a chamber. Time in representation, twenty- 
five minutes. 

39 WANTED A NURSE. A lau^hahle S' etch in one 

scene, ; rranged by Charles White. Four liiale characters. All the charac- 
ters first rate. Costume, modern, extravagant, one Dutch dress. Scenery, 
a plain kitchen. Time in representation, twenty minutes. 

40 A BIG MISTAKE. A Negro Sketch in one scene, hy 

A. J. Leavitt. Four male characters. Full of most absurdly funny inci- 
dents. Costumes, modern ; one policeman's uniform. Scenery, a plain 
chamber. Time in representation, eighteen minutes. 

41. CREMATION. An Ethiopian Sketch in two scenes, hy 

A. J. Leavitt. Eight male, one female characters. Full of broad, palpable 
hits at the last sensation. Costumes modern, some eccentric. Scenery, a 
street and a plain chamber. Time in representation, twenty-five minutes. 

42. BAD "WHISKEY. A comic Irish Sketch in one see le, 

by Sam Kickey and Master Barnej. Two male, one female characters. 
One of the very best of its clas*s. Extravagant low Irish dress and a police- 
man's uniform. 

43 BABY ELEPHANT. A Negro Sketch in tw^o scenes. 

By J. C. Siewart. Seven male, one female characters. Uproariously comi<i 
in idea and execution. Costumes, modern. Scenery, one street, one 
chamber. Time in representation, twenty-five minutes. 

44 THE MUSICAL SERVANT. An Ethiopian Sketch in 

one scene, by Phil. H. Mowrey. Three male characters. Very original 
and very droll. Costumes, modern and low darkey. Scenery, a plain 
chamber. Time in representation, fifteen minutes. 



DK WITT'S ETHIOPIAN AND COMIC DRAMA. 



No. 

45 



46 



47 



48 



REMITTANCE FROM HOME. An EtMopiaa Sketckin 

one scene, by A. J. Leavilt. Sis male characters. A very lively piece, 
full of bustle, and giving haif a dozen people a good chance. Time in repre- 
sentation, twenty minutes. 

A SLIPPERY DAY. An EtMopian Sketch in on© scene, 

by Robert II art. Six male, one female characters. By a very simple mechan- 
ical contrivance, plainly planned and described in this book, a few persons 
can keep an audience roaring. Time in representation, sixteen minutes. 

TAKE IT, BON'T TAKE IT. A Negro Sketch in one 

scene, by John Wild. Two male characters. Affords a capital chance for 
two good i^ersons to "do" the heaviest kind of deep, deep tragedy. 
Time of representation, twenty-three minutes. 

HIGH JACK, THE HEELER. A^a Ethiopian Sketch in 
one scene, by A. J . Leavitt. Six male characters. Happily hits off the short- 
haired bragging " lighters" that can't lick a piece of big taffy. Time of 
playing, tw^enty minutes. 

A NIGHT IN A STRANGE HOTEL. A langhahle Negro 

Sketch in one scene, arranged by Charles White. Two male characters. Al- 
though this piece has only t\\ o personators, it is full of fun. Tiaie in rep- 
resentation, eighteen minutes. 



50 THE DRAFT. A Negro Sketch in one act and two scenes, 

by Charles White. Six male characters. A good deal of humor of the ]\Iulli- 
gan Guard : nd Awkward Squad style, dramatized. Time in representation, 
eighteen minutes. 

51 FISHERMAN'S LUCK. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Decidedly the best " fish 
story " ever told. It needs t-\vo "star " darkeys to do it. Time in represen- 
tation, fifteen iniiuites. 



52 EXCISE TRIALS. A Burlesque Negro Sketch in one 

scene, arranged by Charles White. Ten male, one female characters. Full of 
strong locaTsatire ; can be easily adapted to any locality. Time of repre- 
sentation, twenty minutes. 

53 DAMON AND PYTHIAS. A Negro Burlesque, hy Chas. 

White. Five male, one female characters, in two scenes. A stunning bur- 
lesque of the highfaiiitin melodrama; capital for one or two good imita- 
tors. Time of representation, fifteen minutes. 

54 THEM PAPERS. An Ethiopian Sketch in one scene, hy 

A. J, Leavitt. Three male characters. Full of comical mystifications and 
absurdly funny situations. Time of representation, fifteen minutes. 

55 RIGGING A PURCHASE. A Negro Sketch in one scene, 

by A. J. Leavitt. Three male characters. Full of broad comical effects. 
Time in representation, fifteen minutes. 

56 THE STAGE STRUCK COUPLE. A laughahle Inter- 

lude in one scene, by Charles White. Two male, one female characters. 
Gives the comical phase of juvenile dramatic furor; very droll, contrasted 
with the matter-of-fact darkey. Time in representation, fifteen minutes. 

57 POMPEY'S PATIENTS. A laughahle Interlude in two 

scenes, arranged by Charles White. Six male characters. Very funny 
practical tricks of a fast youth to gain the governor's consent to "his wed- 
ding his true love. Half a do;':en good chances for good actors. Time in 
rc^-presentation, twenty minutes. 



DE WITTS ETHIOPIAN A^D COMIC DRAMA. 

No. 

58 GHOST IN A PA'WN SHOP. An Ethiopian Sketch in 

one scene, by Mr. Mackey. Four male characters. As comical as ite title ; 
rtinnijig over with i)ractical jokes. Time of representation, twenty min- 
utes. 

59 THE SAUSAGE MAKERS, A Nef-ro Burlesque Sketch 

in two scenes, arraut,'i-d by Charles White. Five male, one female cliarac- 
ters. An old story worked np with a deal of hiughable elfect. Tlie jjontler- 
ous sausage machine and other properties need not cost more than a 
couple of dollars. Time of representation, twenty minutes. 

60 THE LOST ^''ILIi. A Negro Sketch, hy A. J. Leavitt. 

Four male characters. Very droll from the Avord "go." Time of repre- 
sentation, eighteen minntes. 

61 THE HAPPY GOUFX.E. A Short Humorous scene, ar- 

ranged by Charles White. Two male, one female characters. A spirited 
burTesque of foolish jealousy. 8am is a very frolicsome, and very funny 
young dai'key. Time of playing, seventeen niinutes. 

62 VINEGAR BITTERS. A Negro Sketch in one scene, ar- 

ranged by Charles White. Six male, one female characters. A broad bur- 
lesque of the jiojiular ]>atent medicine business ; plenty of humorous inci- 
dents. Time of representation, fifteen minutes. 

63 THE DARKEY'S STRATAGEM. A Negro Sketch in one 

act, arranged by Charles White. Three male, one female characters. Quaint 
courtship scenes of a ])air of young darkies, ludicrously exaggerated by the 
tricks of the boy Cupid. Time of "represeiitation, twenty minutes. 

64 THE DUTCHMAN'S GHOST. In one scene, hy Larry 

Tooley. Four male, one female characters. Jacob Schrochorn, tlie jolly 
shoemaker and l»is frau, are rare ones for raising a liearty laugh. Time of 
representation, lifteen minutes. 

65 PORTER'S TROUBLES. An Amusing Sketch in one 

scene, by Ed. Harrigan. Six male, one female characters. A laughable ex- 
position of the queer freaks of a couple of eccentric lodgers that pester a 
poor "porter." Time in representation, eighteen minutes. 

66 PORT TVINE vs. JEALOUSY. A Highly Amusing 

Sketch, by Williani Carter. Two male, one female characters. Twenty 
minutes jammed full of the funniest kind of fun. 

61 EDITOR'S TROUBLES. A Farce in one scene, "by Ed- 
ward Harrigan . Six male characters. A broad farcical description of the 
running of a country journal "under diflicuities." Time of representa- 
tion, twenty-three minutes. 

68 HIPPOTHEATRON OR BURLESQUE CIRCUS. An 

Extravagant, funny Sketch, by Charles "White. Nine male characters. A 
rich burlesque of sports in the ring and stone smashing prodigies. Time of 
playing, varies v.ith "acts" introduced. 

69 SQUIRE FOR A DAY. A Negro Sketch, by A. J. 

Leavitt. Five male, one female characters. The " himior of it " is in the 
mock judicial antics of a darkey judge for a day. Time of representation, 
twenty nunutes. 

10 GUIDE TO THE STAGE. An Ethiopian Sketch, Ijy Chas. 

White. Three male characters. Cont;iins some thumping theatrical hits of 
the " Lay on Macduff," style. Time of playing, twelve minutes. 



MAUrscllIPT PLATS. 



Belozu zvill he found a List of nearly all the great Dramatic 
successes of the present and past seasons. Every one of these 
Flays, it zoill he noticed, are the productions of the most eminent 
Dramatists of the age. Nothing is omitted that can in any 
manner lighten the duties of the Stage Manager, iJie Scene 
Painter or the Property Man. 



ON THE JURY. A Drama, in four Acts. By 'Watts Phil- 
lips. Thiis piece has Bcven male and four female characteiri. 

ELFIE; or, TKE CHERRY TREE INN, / R mantir 

Drama, in three Acts. By Diuu UoucicuuU. Tins piece liaj six male and 
fuiii female characters. 

THE TWO THORNS. A Comedy, in foi.r Ac s. JBy James 

Albery. This piece has nine male and three female characters. 

A WRONG MAN IN THE RIGHT PI ACE. A Farce, in 
one Act. By John Oxenford. This piece has one male and three female 
characters. ■ 

JEZEBEE ; or, TKE DEAB RECKONING. Ey Dion Bou- 
cicault. This piece has six male and liv. female characters. 

THE RAFAREE ; or, THE TREATY OF LIMERICK. A 

])!aina, m three Acts. By Dion Boucicault. This piece h;is nine male and 
two female characters. 

'TWIXT A5^ AND CROWN; or, THE LADY ELIZA- 

betii. An llistorical Play, in five Acts. ByTomTayloi, This piece has 
twenty-five male and twelve female characters. 

THE TWO ROSES. A Comedy, in three Acts. Ey James 

Albery, This piece has five male and fonr female characters. 

M. P. (Memliser of Pa' Moment.) A Comedy, in four Acts. 

By T. W. Robertson. This piece has seven male and five female characters. 

MARY WARNER. A Domestic Drama, in four Acts. By 

Tom Taylor. This piece has eleven male ; nd five female characters. 

PHILOMEL. A Rcmantic Drama, in three Acts. By H. T. 

Craven. This piece has six male and four female characters. 

UNCLE DICK'S DARLING. A Domestic Drama, in three 

Acts. By Henry J. Byron. This piece has six male and five female cha- 
racters. 

LITTLE EM'LY. (David Cop^erlield.) A Drama, in four 

Acts. By Andrew Halliday. "Little Em'ly " has eight male and eight 
female characters. 



I)E WITT'S MANUSCRIPT PLAi^S. 



FORMOSA. A Drama, in four Acts. By Dion Boucicault. 

ThU i)iocc has eighteen imile and eight feuuilc characters. 

HOME. A Comedy, in thi-ee Acts. By T. W. Robertson. 

" Home " has lour male and tliree female cliaracters. 

AN ENGLISH GENTLEMAN 5 or, THE SQUIRE'S LAST 

ShilllnLr. A Drama, in four Acts. By Henry J. Byron. This i>iece con- 
tains nine male, four female cliaracter.«. 

FOUL PLAY. A Drama, in four Acts. By Dion Boucicault. 

This piece has fourteen male 'ind two fLinalc characters. 

AFTER DARK, A Drama, in four Acts. By Binn Bouci- 
cault. This piece has fourteen male and two female characters. 

ARRAH-NA-PCGUE. A Drama, m tliree Acts. By Dion 

Boucicault. This piece has fourteen male and two female characters. 

BREACH OF PROMISE. A Comic Drama, in^wo Acts. By 

T. W. Robertson. The piece has five male and two female characters. 

BLACK AND AVHITE. A Drama, in tirc^ Acts. By TVilkie 

Collins and Charles Fechter. This piece has six male and two female cha- 
racters. 

PARTNERS FOR LIFE. A Comedy, in three Acts. By 

Henry J. Byron. This piece has seven male and four female characters. 

KERRY ; or. Night and Morning. A Comely, in one Act. 

By Dion Boucicault. This piece contains four male and two female char- 
acters. 

HINKO ; or, THE HEADSMAN'S DAUGHTER. A Roman- 
tic Play, in a Prootcue and live Acts. By W. G. Wills. The Prologue con- 
tains four male and" three female characters. The Play contains ten male 
and seven female characters. 

NOT IF I KNOW IT. A Fai-ce, in one Act. By Jchn Mad- 

dison Morton. This piece contains four male and four female characters. 

DAISY FARM. A Drama, in four Act-, By Henry J. Byron 
This piece contains ten male and four female characters. 

EILEEN OGE ; or. DARK'S THE HOUR BEFORE THE 

Dawn. A Drama, m four Acts. By Edmund Falconer. This piece con- 
tains fifteen male and four female characters. 

TWEEDIE'S RIGHTS. A Comedy-Drama, in two Acts. By 

James Albery. This piece has four male, two female characters. 

NOTRE DAME; or, THE GIPSY GIRL OF PARIS. A 

Pomantic Drama, in three Acts. By Andrew Halliday. This play has 
seven male, four female characters. 

JOAN OF ARC. A Tragedy, in Five Acts. By Tom Taylor. 

This piece has twenty-one male, four female characters. 



Maiiuscript copies of these very effective and very suc- 
cessful plays are nozu ready, and will be furnished to Man- 
agers on very reasonable terms. 



m WITT'S BIOCOTIOMET SERIES. 

PRICE 15 CENTS EACH. 



Young people who were desirous of acquiHng a practical Tcnotoleclge of the beauti- 
ful, as well as highly useful art of Reading and Speaking correclbj and elegantly, 
have found great difficulty in 2^rocuHng hooks that rvould teach them rather in the 
manner of a ge ■■ iat friend than an imj^erious master. Such hooks we Uereptresent 
to the public in " De Witt's Elocutionary Series.'''' Not only are the selections made 
very carefully from the abundant harvest of dramatic literature, but the accompany- 
ing INSTRUCTIONS are so plain, direct and forcible, that the least intelligent can 
easily understand all the rules andjnecepts of the glorious a> t that has immortalized 
Jiosciuo and Kean, Chatham and Henry. 



. No. 1. THE ACADEMIC SPEAKER. Contaming an un- 

•" usual variety of striking Dramatic Dialogues, and other most effective 

scenes. Selected Avitli "gi'eat care and judgment from tlic noblest and 
Avittiest Dramas, Comedies and Farces mostVopulav upon the best stages. 
Interspersed with such able, plain and practical criticisms and remarks 
upon Elocution and stage effects, as to render this -work the most valuable 
hand-book to the young orator that has ever been produced. 

COI^TEIVTS.— Ofiu-iiil Introductory Rei^arks ; On llie quality of Selections ; On True Eloquence ; 
On Awkward Delivery ; On Necessity (it Attentive Stucly ; On Appropriate Gesture ; On the 
Appearance ofLadies iipon the Staf,'e ; Tlie btajje and the Curtain ; Keniarlia upon the Buliject 
of Scenery ; How to easily Construct a StaRc ; Stasce Arransements and Properties ; Remarks 
upon improvising Wardrobes, etc., etc. There are Twelve pieces in tliis book that require two 
Male Chaiftcters ; Six pieces tliat require six Male Characters; Two pieces that require /on?- 
Male Characters. 

No. 2. THE BRAMATIC SPEAKER. Composed of many 

very carefully chosen Monolo.s^ues, Dialogues and other effective Sc^^nes, 
from the most famous Tragedies, Comedies and Farces. Intersjjersed with 
numerous Directions and Instructions for their proper Delivery and Per- 
formance. 

COI^ITEI^TS.— 'rhere are three pieces in this book that require one Male Character; One f list requires 
three Male Cliaracte.s ; Ten that require tint Male Characters , A'ine that require one Male and 
one Female Characters ; Fciur that require three Male Characters ; One that requires two Male and 
one Female Characters ; One that requires two Female Characters ; One that requires one Male and 
two Female Characters. 

No. 3. THE HISTRIONIC SPEAKER. Bein^ a careful 

compilation of the most amusing Dramatic Scenes, light, gay, pointed, 
witty and sparkling. Selected from the most elegantly written and most 
theatrically effective Comedies and Farces upon the English and American 
Stages. Properly arranged and adapted for Amateur and Parlor Represen- 
tation. 

COSJXETSrs.— rftree of the pieces in this book require /wo Female Characters; Owe piece requires 
Ki'i-en Female ("haractei-s ; Ninrlprn )iiereB that require mie Male and one Female Characters ; Otic 
j)iece that requires owe Male ami /(«() Female Characters ; Ono i)iece that requires tii'o Male and 
o»c Female Characters. 

No. 4. THE THESPIAN SPEAKER. Being the hest Scenes 

from the best Plays. Every extract is jneceded by valuable and very plain 
observ.itloiis, teaching the young Forensic Student how to Speak and Act 
in the most highly approved manner. 

CO'XTiLlKTrti.— Fire olthe ))ieces in tliis book require one Male and one Female Characters ; ThrceTiT 
tlie pieces re(|Hire Jftrce Male Characters ; TArcR of the piece* require two Male and one Female 
Characters ; Seven of the pieces require tn-o Male Characters ; One of the pieces require one Male 
nnd one Female Characters ; Two of the pieces require two Male and two Female Characters ; One 
of the pieces require .four Male and /our Female Characters ; Three of the pieces require three 
Male and one Female Characters. 

*5j:* Single copies sent, on receipt of price, postage free. 
\^:^ Address as per first page of tliis Catalogue, 



t09. 
103. 



fl04. 
«06. 



114. 
115. 
116. 



12«. 
193. 
124. 
185. 
1«T. 
138. 
1S9. 
130. 

131. 

13S. 
133. 
134. 
135. 

13«. 



, Last Farevrell Tncker. 

, My Beart is Thine Alone. .Glover. 

, Come Bacic to Erin Cl»ribel. 

, Morn on the IIIeado'«r...Wrighton. 

. Sad Brown Leases Chantrey. 

Fond Memory Olover. 

. I Heard a Spirit Sln^. Taylor. 

. Autumn T'wiltg^t Glover. 

. RocUed in the Cradle off the 

Deep Tucker. 

, Orig^in of the Harp Moore. 

Strangers "»'et Clarlbel. 

Svreet Land off Tyrol Theresa. 

My Pretty Bird. Sing On. 

Lindbland. 

Sprino^ and Autumn Tncker. 

Upon the Sno^vy Mountain Tops. 
Moller. 

A-ve Maria Guonod. 

Believe Me iff all Endearing 

Charms Hoore. 

Children's Voices Claribel. 

Long, Long AVeary Day .. .Tucker. 
'Why -was I Looking Out ? 

Blumenthal. 
Angels E-ver Bright and Fair. 

Tucker. 

Annie Laurie Tucker. 

My Pretty Jane Bishop. 

Distant Land Hertslett. 

Dream of Lo-ve Rod well. 

I Lo-ve and I am Belotred. .Richard. 

Xeala Lutz. 

On the Mountains Beuediot. 

Oh. AValy. 'Waly. Up the Bank. 

Blumenthal. 

The Birds were Telling One 

Another Smart. 

Come Sit Thee Dewm Sinclair. 

The Standard Bearer. .Lindpainter. 

Shells off Ocean Cherry. 

Isle off Beauty. Fare Thee "VVell. 

Bayley. 

Bloom Again. S-vreet Prison 

Flo-»»er Young. 



*arr. 



139. 
140. 

141. 

144, 

145. 
146. 
147. 



15%. 
154. 



160. 
163. 

164. 
165. 

166. 
leT. 
16^ 
169. 

1T4. 

tSH. 

ISO. 
183. 
186. 
196. 
197. 

198. 
SO* 



Ever off Thee Hall. 

As I'd IVothing Else *• Do. 

Hatton. 

Grieve IVot ffor Me 'Brighton. 

I Cannot Sing the Old Songs. 

Clarlbel. 

"Why Do Summer Hoses Fade? 

Barker. 

I Cannot Mind my IVheel. 

Mother LInley. 

Araby's Daughter. Klallmark. 

Young Jenny Allen. 

O Fair Dove I O Fond Dove Z 

Gatty. 

Oh, Keep Me in Your Memory. 

Glover. 

Upon the Danube Hiver. ..Tucker. 

Just Touch the Harp Gently. My 

Pretty Louise Blamphln. 

When the Corn is "Waving, 

Annie Blamphin. 

Love's Secret Tucker. 

"When my Ship Comes Home. 

Lee. 

Bird on the Tree Nlsh. 

Yeoman's "Wedding Song. 

Ponlatowskt. 

Linden ^Walt« Aide. 

Michael Bray PJii'P' 

Lover's Pen PonlatowskL 

Eily's Reason Molloy. 

'With the Stream Tours. 

Out in the Cold. Bagnall. 

The "IVishing Cap Wrlghton. 

The Island off Green. 

Arranged by Tucker. 

Meeting in Heaven Wrlghton. 

Jenny of the Mill Lednc 

Esmeralda Lerey. 

Heavenly Golden Shore. Rosenthal. 
Don't You Bemember, Love ? 

Lawrence. 

■ark! the Drum Nlsh. 

. Anita (the Chieftain's "%Viffe). 
Bichards. 



OPERATIC SONGS. 



lO. Little Blue Butterfly Herve. 

37. Loving Daughter's Heart. . ..Balfe, 

39. Paradise off Love Balfe. 

69. O Rare Malvoisie! Offenbach. 

71. Light off Other Days Balfe- 

73. Rhotomago's Partner Fair. 

Offenbach. 
77. Ah! IVhat a Fate! Offenbach. 

80. Then You'll Remember Me.. Balfe. 

81. Turtle Doves Offenbach. 

83. 'Tis Sad to Leave Our Father. 

land. Balfe- 



84. On Yonder Rock Reclining... Anber. 

85. "Walk Up IVow. This is IVo Hum- 

bug. 
89. Song of the Tight Rope Dancer. 
Offenbach. 

93. These Aching Teeth Offenbach. 

97. Painted so Fine— Eyes Divine. 

Offenbach. 

99. Anvil Chorus. Verdi. 

lOI. Fool. You may Say it If Yo« 



Plea 



.Offenbach. 



LIBRf^RY OF CONGRESS 



111. 
US 

113 

lis. 



Oil. Fl*^«r*rs ao Fair «b«I S-weet. 

Offenbach. 

Mlsnon Thomaa. 

I. Pleased -vrith Myself. Offenbach. 

Heart Bowed I>ovm Balfe. 

Youngf Asnes* Beattteens 

Flower iiuber. 

I Dreamt I D^veli In Marble 
Halls. Balfe. 

Her Geatle Velce Expressed, etc. 
Balfe. 




14«. My Own. My Caldlag Star. 

tUcfama. 

143, Ah : So Pure. Flotoir. 

ISS. >Vhere sl»all I Take my Bride t 

Hem*. 



COMIC AND SERIO COMIC SONGS. 



1. Pretty Polly, iff yoa I^ove Me. 

Coote. 

%. Pistiermaii's Daugliter Bagnall. 

4. I'll Tell Yoiir "IVifo Egerton. 

•». Up ia a Balloon Hunt. 

8. Captain JinUs Kaclagan. 

11. Champagne Charlie Lee 

la. Thady O'Flyaa Molloy. 

13. Tassels on the Beets Tucker. 

15. Tommy Dodd CUrke. 

l-y. That's the Stylo for" Me. : . . . .Yonng. 

18. Pretty Little Flora Leyborne. 

19. Bother the Men Walker 

««. I -Vfish I was a Fish Hunt. 

S4. Put it Down to Me OattT- 

£8. Oh. IPVonldn't You Like to Kno-w? 

MuBgrare. 

30. W»««>ro is my IVancy? Hunt. 

33. Imm^aseikoff Lloyd. 

38. Cood.bye, John; or. Chickabiddy. 

40. Bean of Saratoga TaDce. 

48. IVot ^or Joseph Lloyd. 

44. Califoraia Cold Hunt. 

48. Susan. Susan, Pity my Confusion. 
Bumara. 

SO. IValklag ia the Park Lee. 

S«. Bell Coes a-Rinsiag for Sa-i-rah. 
Hunt. 
S3. Call Her Back aad Kisn Her. 

Hlnasi. 

56. Flying Trapeze Lee. 

SS. It's niico to be a Father Hunt. 



66. She Danced Like a Fairy ..Dudley. 

67. I nre-rer Co East of Madison 

S<|nare. 

68. Lancashire Lass Williams. 

96. Rowring Homo in the Morning. 

Edgerton. 
151. If Ever I Cease to Love. .Leyb»urne. 
1S3. His Heart w^as True to Poll. 

Tucker. 

156. I'm a Timid, IVervous Man. 

Cherry. 

157. Rheia IVine Sharley. . .Leybourn*. 

158. Heathen Chinee Tucker. 

16a. Housekeeper's 'Woes Fechter. 

171. Down ia a Coal Mine.. .Geoghegan. 

17«. Dolly Vardea Lee. 

173. Little Coquette Lee. 

176. Good-bye. Charlie Bust. 

181. Bom! Bom! Bom! Hunt. 

183. Modern Times Coote. 

184. Tho Hardware Line Banks. 

185. Jack's Present Byron. 

189. 'VVhen the Band Begins to Play. 

Hunt. 

190. Upoa the Grand Parade. . .Dariei. 

191. Ada with the Golden Hair. 

G. W. M. 
19«. Aw^f nlly Clever Hunt. 

193. Perhaps She's on the Rail^vay. 

McCarthy. 

194. Mother Says I Musta't Hunt. 



MOTTO SONGS. 



34. YVay of the Y^'orld Ellery. 

36. It's All the Sanae to Sam... Hunt. 

46. It's Better to La«igh than to Cry. 

Clifton. 

54. On, Boys, On, the Course is 

Always Clear Fetchet. 

60. Act on the Square, Boys.... Lee. 

177. A Bit of my Mind Bell. 

179. An Old Man's Advice Tinney. 

187. Up and bo Doing. Smith. 

188. Ten Minutes Too Lato Clifton. 



195. ^Would You be Surprised?. .Coote. 
199. O'Doaaell Aboo Morlne. 

149. Popular Airs for Little Fingers. 

No. 1. Walklttgin the Park ; Beautiful 

Bells. 
15*. Popular Airs for Littio Fingers. 

No. 2. Oaptahi Jinks ; 1'appiug at the 

Garden Gate. 
161. Berger Family •' Bells Mazurka." 



